Se rokh (OmeU)

V'18

Se rokh (OmeU)

Drei Gesichter

Jafar Panahi
Iran, 2018
Features, 100min, OmeU

© Viennale © Viennale © Viennale

Se rokh (OmeU)

Jafar Panahi
Iran, 2018
Features, 100min, OmeU

Mit: 
Behnaz Jafari
Jafar Panahi
Marziyeh Rezaei
Maedeh Erteghaei
Narges Delaram
Mit: 
Szenenbild
Leila Naghdi Pari
Drehbuch: 
Jafar Panahi
Nader Saeivar
Kamera: 
Amin Jafari
Schnitt: 
Mastaneh Mohajer
Jafar Panahi

Produktion: 
Jafar Panahi Film Productions
Weltvertrieb: 
Celluloid Dreams
Verleih in Österreich: 
Filmladen
Format: 
DCP
Farbe

Das Mullah-Regime hat Jafar Panahi aus dem offziellen iranischen Filmscha en verbannt, mit 20 Jahren Ausreise- und Interviewverbot belegt. Und nun, nach den kassiberhaften, von introspektiver Reflexion bestimmten Privatfilmen aus dem Hausarrest, ein minimalistisches Roadmovie wie ein subtiler Befreiungsschlag zurück ins Offene, hin zu den Gesichtern der anderen. Unübersehbar auch eine funkelnde Hommage an drei Generationen weiblicher Selbstbehauptung und Kreativität. Ein Suizid-Selfie als ra nierter Hilferuf aus dem patriarchalen Hinterland mag für die Adressaten unverschämt sein, der nach alter Sitte tobende Bruder hingegen ist jetzt schon nur noch eine vorgestrige Figur. (Stephan Settele)

 

At the beginning of SE ROKH it would seem unthinkable that this could be such a light film. A young woman who wants to study dramaturgy takes the decision of hanging herself and filming it. Actually, this is some sort of audiovisual letter to a renowned TV- series actress. Shocked and dazzled, the actress asks for Panahi’s help, and they travel together to the village where the young woman used to live. They want to know more about her life. Their slow arrival to the frustrated student’s village is a passage into a world known by any cinephile who has watched Panahi’s films and, above all, Kiarostami’s. The zigzagging mountain paths, the intense yellow hues of Iranian meadows, the villagers and their wisecracks begin to take hold of a plot that shows some unexpected turns and one or two surprises. The typical political dimension permeates their journey and there is a transversal reading on the interdictions su ered by women before and after the now long-past Islamic revolution. SE ROKH is also a homage to Kiarostami’s films. The broad panoramic shot taken from Panahi’s car – in which we can see the dirt road and the movement of two characters in it (the closing sequence) – is an undeniable copy of the end of Kiarostami’s AND LIFE GOES ON. (Roger Koza)

Jafar Panahi: THE WHITE BALLOON (1995), THE MIRROR (1997), THE CIRCLE (2000), CRIMSON GOLD (2003), OFFSIDE (2006), THIS IS NOT A FILM (2010), THE ACCORDION (2010, K), CLOSED CURTAIN (2013), TAXI (2015)