This latter constituency is clearly resentful of Panahi’s own intervention: a certain man picks up a rock and in the next shot we see evidence of a worrying impact on Panahi’s windshield as he drives away. The Outsiders essays are academic essays for citation. Did an accomplice do it? ... Panahi, as himself, to drive her to the woman’s tiny home village near the Turkish border to investigate. His film ends on a note of hope, of escape, albeit an escape that has to be managed in a desperate hurry. Cannes 2018: The directors who are banned from attending the film festival, Cannes 2018: Asghar Farhadi demands Iran lift travel ban on Jafar Panahi, ‘It is hard to tell how intentional these mysteries are’ … Three Faces. One local man teaches Panahi the custom of honking his car horn as he drives up the winding mountain road so that oncoming traffic can be negotiated, particularly people driving cows, a consideration which is finally to create a bittersweet image. It is the latest from the Iranian filmmaker Jafar Panahi, a master of narrative diversion, who again has taken the twinned roles of director and driver, as he did in the documentary “Taxi” (2015). It is gentle, elusive, and redolent of this director’s mysterious Iranian zen. ‘3 Faces’ Review: On the Road in Iran (and Off It, Too). He has made a film that tenderly, honestly and … She is regarded with utmost suspicion by villagers who, despite their fan-worship of the female actors’ celebrity status, retain a patriarchal suspicion of female actors whose time has come and gone – female actors who have lost their profession and fame and now simply women again. Another is Behnaz Jafari, playing herself, a famous actor, who appears to be shooting a film directed by the movie’s third well-known face: that of the genial, avuncular, imperturbably good-natured Panahi himself. Here, playing himself, or a version of the filmmaker Jafar Panahi, he spends a large part of the movie behind the wheel of an S.U.V., motoring through the Iranian countryside to help an actress find a missing, possibly dead woman. Working with modest means and astonishing determination, he makes movies that are at once acts of aesthetic will and of political resistance, as well as assertions of the existential sovereignty that here is etched in every last face. The actress, Behnaz Jafari, has received a video of a distraught young woman, Marziyeh Rezaei, who seems to have committed suicide on camera. Panahi’s camera lingers on the austere and unchanging landscape, as it is this, rather than the flurry of human interaction, which is his true subject. Whose are the three faces? It feeds off and often directly alludes to classics like Kiarostami’s Taste of Cherry and The Wind Shall Carry Us. Winner of the Best Screenplay award at the Cannes Film Festival, 3 FACES is the fourth film acclaimed filmmaker Jafar Panahi has completed since being banned from filmmaking by the Iranian government. There can of course hardly be any film-maker alive more qualified to address in the audience in that vein, but I was a little disconcerted that Panahi did not continue in his own more modern, more directly humorous and explicit engagement with the politics and society of modern Iran, the sort of work he showed us in This Is Not a Film and Taxi Tehran. ÜÇ KADIN ÜZERİNDEN İRAN TOPLUMU. It's not that easy, but it does make for good cinema. But the point is: if the girl really is dead, how did the video get texted to Jafari? Trailers. To describe 3 Faces as a multi-generational portrait would not be entirely inaccurate, though it would risk divesting the movie of its quotidian poetry, its deep reserves of mystery and its rich rewards for an open-hearted audience. Overview. This disambiguation page lists articles associated with the title Faces. One is Marziyeh (Marziyeh Rezael), a young woman from a remote village who dreams of attending … 3 Faces does allude to his current condition of house arrest and inability to leave Iran, but otherwise there is something a bit inscrutable about it, though always humane. To give credit where it is do, The Three Faces of Eve is about a real case of multiple personality disorder and Alistair Cooke's narration does give it a proper time frame, the cure is a matter of years here. – New York Film Festival The intimate claustrophobia of the S.U.V. We see smartphone video footage, shot portrait-style, of Marziyeh, desperately beseeching help from Jafari to help in her career; she says her parents promised to let her go to the conservatory if she agreed to get engaged, but now they have let her down. Panahi was arrested in Iran in 2009 and again in 2010. His films are always intensely watchable, though this one appears to be reaching back 20 years or so to an earlier kind of classic Iranian cinema, from a time when filmic language needed to be more encoded. Here, though, the suggestion of complicity doesn’t feel like an accusation, the way it can with directors who toss Brechtian brickbats. One elderly man talks to Jafari about the importance of circumcision and reveals his own interest in movie history of Iran. That setup might suggest a nerve-wracking thriller, but 3 Faces exudes a leisurely pace — in part because neither adult believes Marziyeh went through with the suicide. Their quest takes them to northwest Iran, where he speaks Turkish to Azeri villagers. How did this young woman have the star’s number come to that? Last edited on 12 February 2020, at 01:40. Marziyeh’s defeated face pleads inside the phone screen with words that sound like a suicidal farewell. It is charming and amusing interlude. It does, however, quickly acknowledge Panahi’s house arrest and prohibition to leave the country (a “light” punishment compared to Mohsen Makhmalbaf, who lives in exile and is often hunted down by the country’s secret service ), but does not go any further. The great Iranian director, currently under house arrest, has delivered a purposefully oblique – if always enjoyable – meditation on acting, reportage and political unrest, Last modified on Thu 28 Mar 2019 14.33 EDT. 3 Faces, then, takes Panahi one step closer to liberation, as it sees him moving freely through a network of villages in the mountains by the northwest border of Iran and Turkey. “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. 3 Faces movie. A humanist in a theocracy, Panahi has long explored social and political issues — poverty, women’s rights, authoritarianism — yet without the tiresome art-house wagging fingers and grandstanding. The crunch comes when Panahi and Jafari find out the truth about Marziyeh and discover which members of her family are amenable to her wishes and which are not. The shaken Behnaz has walked away from her latest role mid-production and enlisted Jafar to help her search for Marziyeh. But sometimes Panahi’s style is a little opaque in these overtly dramatic situations. Year after year, we get a tide of bilge that passes for "the American way of life" in the movies. It is filmed in a remote Turkish-Azeri-speaking part of Iran where Panahi's parents hail from. The Three Faces of Victim is the article that originally identified an entirely new way to understand and apply the concepts of the Drama Triangle as originally shared by Stephen Karpman. One characteristic of his work is its anguished tenderness, including in movies that play with hard-boiled genre (“Crimson Gold,” “The Circle”), a generosity of spirit that is itself political. I n 2016, the great Iranian director Abbas Kiarostami died of complications resulting from what should have been a routine operation. The movie begins on a shocking note. Iranian auteur Jafar Panahi (Tehran Taxi) and screen star Behnaz Jafari head to a village when she receives a distressing video from a fan.Winner of Best Screenplay at the 2018 Cannes Film Festival. It feeds off and often directly alludes to classics like Kiarostami’s Taste of Cherry and The Wind Shall Carry Us. Each face reveals a different aspect of your character. But her presence fills the movie, partly because she serves as an affecting reminder of Iran’s past, much as the willful Marziyeh is an emissary of its future. These concepts will forever change the way you see the world. 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