Hidden (2020)
Country: FR/IR
Technical: col 18m
Director: Jafar Panahi
Cast: Shabnam Yousefi, Solmaz Panahi, Jafar Panahi
Synopsis:
The film-maker and his daughter drive a theatrical producer to a nearby village to hear a Kurdish girl sing whose family will not allow her to appear in public.
Review:
As in his film Taxi Tehran, Panahi uses a mounted camera, as well as a handheld camera-phone operated by his daughter. The barest materials are thus harnessed to the slenderest of formats and storylines: an explanation of what we are about to see by the friend of the family, followed by a performance from behind a draped sheet by the owner of this extraordinary voice. The quality of it speaks for itself: this a song that demands to be performed and heard, even though the Kurdish is not subtitled. The film becomes another comment, perhaps, on what cannot be seen in modern Iran, though this time the oppression is less political than cultural.
Country: FR/IR
Technical: col 18m
Director: Jafar Panahi
Cast: Shabnam Yousefi, Solmaz Panahi, Jafar Panahi
Synopsis:
The film-maker and his daughter drive a theatrical producer to a nearby village to hear a Kurdish girl sing whose family will not allow her to appear in public.
Review:
As in his film Taxi Tehran, Panahi uses a mounted camera, as well as a handheld camera-phone operated by his daughter. The barest materials are thus harnessed to the slenderest of formats and storylines: an explanation of what we are about to see by the friend of the family, followed by a performance from behind a draped sheet by the owner of this extraordinary voice. The quality of it speaks for itself: this a song that demands to be performed and heard, even though the Kurdish is not subtitled. The film becomes another comment, perhaps, on what cannot be seen in modern Iran, though this time the oppression is less political than cultural.
Country: FR/IR
Technical: col 18m
Director: Jafar Panahi
Cast: Shabnam Yousefi, Solmaz Panahi, Jafar Panahi
Synopsis:
The film-maker and his daughter drive a theatrical producer to a nearby village to hear a Kurdish girl sing whose family will not allow her to appear in public.
Review:
As in his film Taxi Tehran, Panahi uses a mounted camera, as well as a handheld camera-phone operated by his daughter. The barest materials are thus harnessed to the slenderest of formats and storylines: an explanation of what we are about to see by the friend of the family, followed by a performance from behind a draped sheet by the owner of this extraordinary voice. The quality of it speaks for itself: this a song that demands to be performed and heard, even though the Kurdish is not subtitled. The film becomes another comment, perhaps, on what cannot be seen in modern Iran, though this time the oppression is less political than cultural.