Tuesday 30 July - Members Free Screening followed by Cafe Cinema
Well-known actress Behnaz Jafari is distraught by a provincial girl's video plea for help--oppressed by her family to not pursue her studies at the Tehran drama conservatory. Behnaz abandons her shoot and turns to filmmaker Jafar Panahi to help solve the mystery of the young girl's troubles.
They travel by car to the rural northwest where they have amusing encounters with the charming folk of the girl's mountain village. But the city visitors soon discover that the protection of age-old traditions is as generous as local hospitality...
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Di Koser - Programming Committee
The importance of acknowledging and presenting works of truly creative and ground breaking filmmakers is at the top of our agenda at the Deckchair. For that reason we are extremely excited to screen the latest brave and delightful film from legendary Iranian director Jafar Panahi , who has been banned from making films in Iran.
In spite of the ban, he continues his award winning career, enlightening and amusing us. As we have not seen the film ourselves, we add the following excerpt from Tomriss Laffly on rogerebert.com as it confirms our expectations.
"..the mere idea of watching a new film by Panahi comes with a certain incontestable gratification. A savvy rebel, he continues to laugh in the face of that sentence and produce one fascinating cinematic oeuvre after another, manipulating and evolving the art form he’s mastered with startling finesse.
With “3 Faces,” writer/director Panahi solidifies his artistic handle on his unjust situation by inventing new ways to work around it and remains, more than ever, an effortless blender of documentary and fiction through mystifying methods.
“3 Faces,” in which everyone plays a fictitious version of themselves, starts with a film within a film, shot by the young Marziyeh Rezaei on her cell phone. Marziyeh’s defeated face pleads inside the phone screen with words that sound like a suicidal farewell. Addressing her close friend at first, and then the celebrated Iranian actress Behnaz Jafari Marziyeh finally reaches her destination in a cave, puts a noose around her neck and
from what we can see, ends her life.
For a film that starts off with an apparent suicide, “3 Faces” unfolds rather whimsically with a serene tempo. Distraught that she wasn’t able to help out this poor, perfect stranger, Behnaz …recruits her friend Panahi to take a road trip towards Marziyeh’s town in order to solve the mystery of the suicide note. Not unlike Agnès Varda and JR’s “Faces Places,” the duo’s journey weaves together a series of pastoral tableaux, …that concern themselves with existential matters. Through narrow and winding roads between Turkish-Azeri speaking
villages, the pair comes across a wealth of wry-humoured idiosyncrasies among town folk who hold on to their traditions for dear life. A shepherd brags about his sick cow’s hard-earned reputation as a stud, an old woman decides to try out her newly dug grave and a group of villagers mix the pair up with repair persons, only to dismiss them as “entertainers” with pointed disappointment later on.
While Panahi works his way towards an eventual resolve for Marziyeh’s mystery, he makes a political and gently feminist statement on Marziyeh and the women that came before her—in fact, the film’s title refers to three generations of female artists in that regard. In addition to Marziyeh and Behnaz, we get to learn a great deal about the iconic pre-revolution Iranian actress, poet and dancer Shahrzad”—she never appears in the movies,
but her fall from grace often gets cited by locals as an example of the bleak fate that eventually awaits women of her sort. Gradually, Marziyeh’s troubles assume an even deeper dimension when seen through this context.
Panahi can’t help but flaunt optimism wherever he sees it—he lets it rise above it all despite