Iranian cinema has developed its own distinctive style. Almost every film originating in this Middle Eastern country (or at least those which reach the West) uses multiple levels of narration, often crossing the fourth wall, using the meta levels, or connecting different worlds. No wonder, since for many years Iranian creators have been looking for creative solutions to deal with censorship, iron rules setting the boundaries for art and the authoritarian apparatus terrorising people with constant surveillance and the threat of many years of imprisonment. The full-length debut of Bardia Yadegari and Ehsan Mirhoddrini, District Terminal, is a film that combines all these features of Iranian cinema, but is also an attempt to fortune-tell the future of Iran as observed in the crooked mirror of political and social commentary.
Peyman is a poet who faces not only the inaccessibility of the state apparatus that prevents him from spreading his artistic wings,...
Peyman is a poet who faces not only the inaccessibility of the state apparatus that prevents him from spreading his artistic wings,...
- 3/8/2021
- by Mateusz Tarwacki
- eyeforfilm.co.uk
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