Pardé (film)
| Movie | |
|---|---|
| Original title | Pardé |
| Country of production | Iran |
| original language | Persian |
| Publishing year | 2013 |
| length | 106 minutes |
| Rod | |
| Director |
Jafar Panahi , Kambuzia Partovi (Koregie) |
| script | Jafar Panahi |
| production | Jafar Panahi |
| camera | Mohamad Reza Jahanpanah |
| cut | Jafar Panahi |
| occupation | |
| |
Pardé (English-language Festival Title: Closed Curtain , dt .: "Closed Curtain") is a feature of Iranian filmmaker Jafar Panahi and Kambuzia Partovi from the year 2013 .
The film, which alternates between dream and reality, was made in secret with a small crew of four to five people. The production is supposed to tell the constitution of Panahi with the possibilities of a remote house by the sea, in which, in addition to the filmmaker himself, the figure of a writer (played by Kambuzia Partovi) with his dog and a mysterious young woman ( Maryam Moghadam ) seek refuge. Panahi, who believes he belongs to the Iranian opposition, was sentenced to six years in prison and a twenty-year ban on the profession by an Iranian court after multiple arrests in December 2010 for “propaganda against the system”. Until the end of his appeal process, he is free subject to conditions, but is not allowed to leave Iran.
Pardé premiered on February 12, 2013 as part of the competition at the 63rd Berlin International Film Festival. The German government had previously unsuccessfully asked Iran to allow Panahi to travel to Germany for the premiere of his film. Solidarity actions for the Iranian filmmaker had already taken place at the previous film festival in 2011 and 2012 .
action
An elderly, nameless writer retires to write in a remote villa on the Caspian Sea . He secretly has a dog named "Boy" with him. Since dogs are considered unclean according to Islamic law and are killed in Iran, he does not let the animal out of the house. He draws all the curtains on the windows and also covers them with black, opaque fabric. The writer also builds a dog toilet out of boards and converts a closet into a hiding place.
When the writer tries to empty the dog toilet through the front door one evening, a young woman named Melika and a man of about the same age gain access to the house. They introduce themselves as siblings who escaped from an illegal beach party that was broken up by the police. The man claims that his sister is suicidal. He disappears shortly after to organize a car, but does not return. Policemen can be heard in the distance.
The presence of the young woman begins to disturb the writer. Melika asks him uncomfortable questions and lets him understand that she knows him through an incident related to the dog in the media. Against the will of the writer, the woman begins to remove the curtains from the windows. In the stairwell, numerous posters of Jafar Panahi's earlier films are visible behind paper webs. The writer retreats with his dog to the hiding place in the closet after a patio door has been smashed. The house seems to be searched by strangers.
A little later, Panahi himself can be seen as the apparently actual resident of the villa. It is shown in everyday situations, such as eating or visiting craftsmen who repair the thrown terrace window. One of the craftsmen asks Panahi to take a photo together, the other apologizes. He is encouraged by his acquaintances, some of them worry about Panahi. A woman and her younger brother inquire at the film director's house about the sister, but he sends her away. Melika announces via a cell phone camera that she is removing the writer and his dog from the house. A little later she goes into the water. Panahi follows her example, but the pictures are rewound and he finds himself in the villa. Using a cell phone, he looks at footage of filming in the house, showing the writer with the dog toilet trying to simulate the intrusion of young people into his house.
At the end of the film, Panahi leaves the villa. Melika, who was left behind, looks wistfully after him.
reception
German press
The film was largely received positively by German specialist critics. Hanns-Georg Rodek ( Die Welt ) praised the Iranian competition entry as "simultaneously a film about courage and cowardice in oppression [...] at the same time allegorical and concrete" . The female figure of Melika would stand for the "embodiment of free thinking". Andreas Fanizadeh ( the daily newspaper ) reviewed Pardé as a "defiant comment on a situation that can hardly be described with conventional cinematic means" and as "surreal, ironic, calm and persistent in its attitude." Christiane Peitz ( Der Tagesspiegel ) discovered in the first half of the film "Snapshots of being locked in and out," a theme Panahi would have addressed in his earlier films Ayneh (1997), The Circle (2000) and Offside (2006). Verena Lueken ( Frankfurter Allgemeine Zeitung ) referred to the comical moments at the beginning of the film with the dog, as they had also occurred in Panahi's previous documentary This is not a film (2011) with an iguana .
Peter Uehling ( Berliner Zeitung ) described the break with fiction and Panahi's turn to “personal isolation” as “aesthetically extremely bold”. But he wondered whether a continuation of the story about the writer and his dog would not have been “richer in political aspects and possible interpretations”. Pardé develops “[...] from a parable narrative into an essay about filmmaking that is mirrored several times.” Michael Kienzl ( Critic.de ) described Pardé as “experimental, self-reflective and brittle” compared to earlier Panahi films. He was astonished that “the limited setting and the modest resources drove Panahi to a liberation in all other areas” and made the film a “cross-border experiment”.
Iran response
The Iranian Ministry of Culture described the film as "illegal" and protested against the screening and awarding of the film at the Berlinale. Since films in Iran can only be shot and distributed with permission, this is, according to the Deputy Minister of Education, Jawad Shamaghdari, “a criminal offense”.
Awards
Jafar Panahi and Kambuzia Partovi won the Silver Bear for Best Screenplay at the 2013 Berlin Film Festival .
Web links
- Pardé in the Internet Movie Database (English)
- Profile at berlinale.de
Individual evidence
- ↑ Competition: You have to be smart about how to make films in Iran; a conversation with Kamboziya Partovi . In: Berliner Zeitung , February 15, 2013, No. 39, p. 28.
- ↑ a b Jafar Panahi . In: Internationales Biographisches Archiv 13/2011 from March 29, 2011, supplemented by news from MA-Journal up to week 02/2013 (accessed via Munzinger Online ).
- ↑ a b Rodek, Hanns-Georg: Don't hide! . In: Die Welt , February 13, 2013, No. 37, p. 25.
- ↑ Waehlisch, Nathalie; Mehlig, Holger ( dapd news agency ): Berlinale celebrates Panahi film . February 12, 2013, 7:14 PM GMT (accessed via LexisNexis Economy ).
- ↑ Fanizadeh, Andreas: Dog days on the Caspian Sea . In: the daily newspaper , February 13, 2013, p. 23.
- ^ Peitz, Christiane: The included . In: Der Tagesspiegel , February 13, 2013, No. 21601, p. 21.
- ↑ Lueken, Verena: Pets are not prohibited from working . In: Frankfurter Allgemeine Zeitung , February 13, 2013, No. 37, p. 25.
- ↑ Uehling, Peter: Competition: The story should not be rounded . In: Berliner Zeitung , February 13, 2013, No. 37, p. 25.
- ^ Kienzl, Michael: Filmkritik on Critic.de, February 13, 2013
- ↑ Iran calls Panahi's film “illegal” on faz.net, February 19, 2013