Jafar Panahi

Jafar Panahi

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Cannes

CANNES 2018: A BALANCE

By Mónica Delgado

It’s been over a week since the Golden Palm was awarded to Hirokazu Kore-eda Shoplifters, an event which closed a festival that kept its classics leitmotivs in a low key: miserabilism, cruelty or the overrating of a cinema with messages and big issues had its few peaks. Even if this year the program was better in quality compared to other edition, the jury, presided by Cate Blanchett, was discreet when awarding common themes, like the award given to the unambitious Kore-eda film, a plain family drama without any major stylistic attributes. Point aside was the jury prize to Capharnaum by Libanese filmmaker Nadine Labaki, a fact which confirm that despite the good films that made this a noble edition, remains a liking for the kind of films that look to edify consciences through stories of misery, war and refugees.

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Cannes

CANNES 2018: THREE FACES BY JAFAR PANAHI

Por Mónica Delgado

In Three Faces, Jafar Panahi takes some motifs from Abbas Kiarostami’s cinema as a way of making an homage. Like in the themes of his colleague’s films, Panahi stablishes a clash or interrelation between social classes, in a confrontation of the illustrated world and the rural world, but here about conceptions and prejudices about the role of women and the possibilities of development and freedom in the current world. Regarding his mise in scéne, the winks to The Wind Will Carry us or Through the Olive Trees are inevitable, through some panoramic shots that allows us to explore the landscape, the roads and precarious highways, and the characters that walk from far away.

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Cannes

CANNES 2018: 3 FACES DE JAFAR PANAHI

Por Mónica Delgado

En 3 Faces, Jafar Panahi hace brotar algunos motivos del cine de Abbas Kiarostami a modo de homenaje. Como en los temas del cine de su paisano, Panahi establece un choque o interrelación entre clases sociales, en un versus del mundo ilustrado y el entorno rural, pero aquí sobre concepciones y prejuicios sobre el rol de las mujeres y las posibilidades de desarrollo y libertad en el mundo actual. En cuanto a la puesta en escena, es inevitable los guiños a El viento nos llevará o A través de los Olivos, a partir de esos panorámicos que permiten explorar el paisaje, los caminos y carreteras precarias, y a los personajes que caminan a lo lejos.

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Berlinale

BERLINALE 2015: TAXI BY JAFAR PANAHI

By Tara Judah

Panahi offers us a view of the city, though it is fleeting. One of his passengers soon inverts this view, by 180 degrees. It is clear that things are not what they seem. Instead of an insider’s view of the city, Panahi plans to show us how the people of the city, driving or being driven, navigate their lives.

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