But through a slight comedy of errors, the statue is left in the taxi and ends up in the Garmsar post office. A reference to the travel ban that the President had enforced on people from Iran and other Muslim countries which resulted in director Asghar Farhadi boycotting the Oscars ceremony in 2017 after winning The Salesman.
The film then cuts to a woman in Tehran in the back of a taxi, she is talking about finally bringing an Oscar statuette back to the country to be exhibited at a film museum in the post-Trump era. Whilst the boy steals glimpses of the film from under his duvet, his mother criticises Yahya for being consumed by movies and asks ‘Is watching films going to earn you money?’. We hear cries across the frame, but they are revealed to be coming from a TV screen as a young boy named Yahya ( Parsa Maghami) is watching a film ( Jafar Panahi’s Taxi) much to the annoyance of his mother ( Martine Malalai Zikria). The film opens with a shot of man Naser (Mohammad Amir Naji) framed in a rear view mirror of his van and cuts to the backdrop of a the village of Padeh, a beautiful tracking shot of a place that looks like it may have been used itself as a location to represent a different land in a blockbuster film. Nazer reveals his intent from the opening credits with a dedication to filmmakers Abbas Kiarostami, Asghar Farhadi, Majid Majidi, and Jafar Panahi which becomes more aware and apparent as the narrative unfolds. In Winners director, Hassan Nazer not only mines details from his own upbringing and early life but also weaves in a love letter to Iranian cinema and the filmmakers who helped shape its modern landscape but who were also oppressed for following their vision and passion. Kunle Afonlayan Furious Over Disqualification Of Anikulapo For Oscars Award
0 kommentar(er)
