نقدی از لوکاس پیستیلی بر فیلم جاده_خاکی به کارگردانی پناه_پ...
نقدی از لوکاس پیستیلی بر فیلم #جاده_خاکی به کارگردانی #پناه_پناهی
Hilarious and touching, "Hit the Road" is one of the biggest surprises of 2021 cinema. The feature, shown in the Horizons section of this year's Karlovy Vary International Film Festival after its debut in the Directors' Fortnight in Cannes, adds a good dose of anarchy to the vein of Iranian road movies. It also marks the directorial debut of Panah Panahi - son of the great director Jafar Panahi ("Taxi Tehran" and "This is not a movie") - and the maturity shown here suggests that Panah may have a career as celebrated as his father's ahead of him.
The filmmaker wastes no time in situating the viewer and begins the film in media res (in the middle of the story): one long take introduces us to a boy (Rayan Sarlak) and his father (Hassan Madjooni) inside a car by the side of the road, and outside, his mother (Pantea Panahiha) and older brother (Amin Simiar). They are on a journey to northern Iran, but there is something strange in the air.
The 93 minutes of filming fly by, as Panahi's script flatly refuses to resort to expository scenes, giving clues about the events of "Hit the Road" little by little and holding the audience's attention. At first, the family talks - and fights - like any other. But meaningful silences and a concern that they are being followed indicate that this is no ordinary road trip. When the reason for their journey is finally revealed, the film takes on new dramatic contours.
THE BEGINNING OF A LONG JOURNEY FOR PANAHI
The director deftly alternates between comedy and drama in large part because his cast gives their all in complementary performances that create a perfectly relatable microcosm. All four are great, but two stand out: Panahiha goes beyond the suffering mother stereotype to deliver a character who exists on the triple boundary between pain, hope, and resilience.
اینستاگرام پانتهآ پناهیها
Hilarious and touching, "Hit the Road" is one of the biggest surprises of 2021 cinema. The feature, shown in the Horizons section of this year's Karlovy Vary International Film Festival after its debut in the Directors' Fortnight in Cannes, adds a good dose of anarchy to the vein of Iranian road movies. It also marks the directorial debut of Panah Panahi - son of the great director Jafar Panahi ("Taxi Tehran" and "This is not a movie") - and the maturity shown here suggests that Panah may have a career as celebrated as his father's ahead of him.
The filmmaker wastes no time in situating the viewer and begins the film in media res (in the middle of the story): one long take introduces us to a boy (Rayan Sarlak) and his father (Hassan Madjooni) inside a car by the side of the road, and outside, his mother (Pantea Panahiha) and older brother (Amin Simiar). They are on a journey to northern Iran, but there is something strange in the air.
The 93 minutes of filming fly by, as Panahi's script flatly refuses to resort to expository scenes, giving clues about the events of "Hit the Road" little by little and holding the audience's attention. At first, the family talks - and fights - like any other. But meaningful silences and a concern that they are being followed indicate that this is no ordinary road trip. When the reason for their journey is finally revealed, the film takes on new dramatic contours.
THE BEGINNING OF A LONG JOURNEY FOR PANAHI
The director deftly alternates between comedy and drama in large part because his cast gives their all in complementary performances that create a perfectly relatable microcosm. All four are great, but two stand out: Panahiha goes beyond the suffering mother stereotype to deliver a character who exists on the triple boundary between pain, hope, and resilience.
اینستاگرام پانتهآ پناهیها
