In March 2010 Jafar Panahi, one of Iran’s most
internationally known and award winning film makers was arrested for committing
propaganda against the Iranian Government. The staunch anti regime director was
banned from film making and scriptwriting for 20 years and as of 2011 was under
house arrest, awaiting the appeal of a six year jail sentence. While wasting
his days at home, Panahi gets the idea to ask a fellow director to visit him
and pick up a camera. Mojtaba Mirtahmasb films Panahi in his high rise
apartment as he watches TV, takes phone calls and runs through his most
recently rejected screenplay, careful all the while to avoid making a film.
Jafar Panahi isn’t a film maker I’d previously come across
and in a strange twist of fate, had the Iranian government not imprisoned him,
it is possible that myself and many others would have lived out our lives
without knowledge of the man or his films. What Panahi does with This is Not a Film is to give the viewer
a fascinating insight into the mind of a tortured man as well as the mind of a
film maker. Panahi often explains his predicament through the use of film clips
and draws on his back catalogue to provide parallels between himself and his
characters. The film is truly absorbing.
This is Not a Film
begins with a brief explanation as to how Panahi has found himself in this
situation, what his punishment is and how the film was smuggled out of Iran. This was
achieved by placing a flash drive in a birthday cake. Early on, Panahi films himself
with a static camera before getting the idea to involve his colleague.
Mirtahmasb’s arrival is followed by a frantic and fevered enactment of the
opening scenes of Panahi’s most recent screenplay, a story of a girl trapped
inside her small house. The story has many parallels with his own and the
director talks with great passion and understanding about the topic. All of a
sudden though he breaks down and utters the line “Why make a film if you can
tell a film?” This powerful and philosophical line is Panahi’s realisation that
even his passionate reading and explanation cannot do justice to what a camera
and actors can do. It is also a moment in which he realises that he will be
unable to continue with his passion for many years. It’s a tender and heart
wrenching moment.
Panahi’s love for film making is evident as we wander though
his house. There are stacks of DVDs, a whole wall of Charlie Chaplin photos and
a wall dedicated to housing all manner of antique film cameras. It’s deeply
upsetting to see a man with such a fervour reduced to explaining his ideas
using masking tape and a rug. The action is set against an outside would which
we can’t penetrate. Panahi watches from his tower as the streets below erupt
with the chaos of a night of fireworks. Initially I presumed this was gun fire
and it is suggested that there is a smattering of gun fire in amongst the
fireworks. Panahi’s disconnection from the outside world increases any thoughts
of problems in the world below and he has to rely on phone calls and the news
to keep him informed. It is also notable that on the day of filming, the
Japanese Tsunami stuck. We get Panahi’s reaction to this event as well as many
others captured on film.
I have to admit that it took me some time to get into this
‘not’ film. I had no prior knowledge of the director and his predicament has
little or no impact on my life. It took me a while to warm to him as he doesn’t
come across as particularly likeable at times. My favourite sequence is the
final one which is so great it seems as though it must have been scripted. As
Mirtahmasb leaves for the day a young man exits the elevator to collect the
apartment’s trash. The man is quick witted, polite and intelligent and the
director takes an interest in him and his life. The two descend the elevator
together, discussing their futures. It is in this sequence in which the lines between documentary and drama become the most blurred. It’s a wonderfully captured scene which
ends with the young man leaving the compound with the rubbish as the director
looks onward from his gates onto scenes of fire, chaos and uncertainty in what
could be a metaphor for his own mind.
Overall This is Not a
Film is a very interesting and deeply powerful film about a subject which
needed airing. Somehow with the use of one camera and an iPhone the director
creates a mesmerizing story of what it is like to be held against your will and
being unable to work and after a shaky start I found the whole thing
fascinating. It provides incredible insight into the mind of a master film
maker and at only 75 minutes long is a movie I highly recommend seeking
out.
8/10
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