Taxi Tehran may not be artistically groundbreaking – the film is partly a nod to Panahi’s compatriot Abbas Kiarostami and his pioneering in-car drama of … BBC.Taxi.Tehran.720p.HDTV.x264.AAC.MVGroup.org.mkv (1449.39 Mb) Subtitles: [eng], Categories: Sociopolitical | Jafar Pahani | BBC | 2017 | Name, Shadow Commander: Iran's Military Mastermind, Decadence and Downfall: The Shah of Iran's Ultimate Party, BBC.Taxi.Tehran.720p.HDTV.x264.AAC.MVGroup.org.mkv, https://docuwiki.net/index.php?title=Taxi_Tehran. Meanwhile, Hana films a case of siahnamayi herself when she spots a boy who steals money from a couple of newlyweds and refuses to return them. He is joined by a host of spirited characters, including his inquisitive young niece Hana, who is studying film-making at school. Eventually, Panahi picks up his niece Hana at her school. Sotoudeh decides to leave early so Panahi can deliver the purse, but not before giving him a rose as a goodwill for filmmakers. Panahi and Hana proceed to the springs and are able to return the purse; at the same time as this happens, a pair of thieves ransack the taxi, before the film cuts off. The film opened in Italy on August 27, 2015 where it earned the ninth place spot, grossing $124,280 from 41 screens. The two stop near a coffeehouse where Panahi meets with a family friend he has not seen for seven years. She discusses film-making and wants Panahi's advice on creating a short film for a school project; her teacher has talked about several rules on creating films in Iran, including the avoidance of siahnamayi, or portraying a dark image about the country. According to Jean-Michel Frodon, the passengers include "Men and women, young and old, rich and poor, traditionalists and modernists, pirated video vendors, and advocates of human rights, [who sit] in the passenger seat of the inexperienced driv… Again thumbing his nose at the regime that has banned him, the courageous Iranian director makes his latest film in a taxi rigged with three hidden cameras, Last modified on Thu 22 Mar 2018 00.08 GMT. Her schoolteacher wants her to shoot something “distributable”, but in Iran that involves certain criteria – including the avoidance of “sordid realism”. Panahi'." Much loose talk is bandied around in the film world about directors’ bravery and the heroism of “guerrilla” film-making – but those terms genuinely mean something when applied to Iran’s Jafar Panahi. [15] Berlin Jury president Darren Aronofsky described the film as "a love letter to cinema...filled with love for his art, his community, his country and his audience. This page was last modified 21:26, 21 September 2020. Banned from making movies in Iran, director Jafar Panahi poses as a taxi driver, driving around Tehran recording the lives of its inhabitants and the difficulties they face. "[14], Taxi won the Golden Bear prize at the 2015 Berlin International Film Festival. Documentary 2015 81 mins Sebastian Schipper, Werner Herzog, Benoit Jacquot and Further Titles Added to the Selection", "BERLIN 2015: Jafar Panahi ganó el FIPRESCI con Taxi", "Berlin Film Festival: Panahi's Taxi wins Golden Bear", "Banned Iranian filmmaker part of the Berlin Film Festival lineup", "Iranian Auteur Jafar Panahi Issues Statement on Irrepressible Need to Direct Despite Moviemaking Ban", https://www.theguardian.com/film/jafar-panahi, "One Woman Stands Against the Iranian Government", "Iran director Panahi's 'Taxi' wins top honor at Berlin fest", "Jafar Panahi asks for Golden Bear winner Taxi to be shown in Iran", "Celebrated abroad, Oscar-winning Iranian director comes under fire at home", "Taxi Tehran review – Jafar Panahi's joy ride", Buffalo Bill and the Indians, or Sitting Bull's History Lesson, https://en.wikipedia.org/w/index.php?title=Taxi_(2015_film)&oldid=961710187, Short description is different from Wikidata, Articles containing Persian-language text, Creative Commons Attribution-ShareAlike License, This page was last edited on 10 June 2020, at 00:17. While adjusting her seat, Hana stumbles upon a purse belonging to one of the old women with the goldfishes. Reviewing This Is Not a Film in 2012, the great Philip French commented, “There is unlikely to be a wittier, braver, more serious film shown in Britain this year.” Three years on, exactly the same can be said about Panahi’s latest. He wants to hear a piece of his passengers' life and declines any payment for the services. Things now get pretty self-reflexive: a short, stout customer identifies himself as Omid the DVD bootlegger. as taxi driver, set in Tehran SAs well as ‘documenting’ it is also a portrait of a city –Panahi questions notions of documentary realism - his niece Hana is under instructions to “avoid sordid reality” from her teacher SPanahi uses technology to “look beyond ideological parameters”–a film that will not be distributed in Iran but There are no end titles. [13] His previous two films had been shot in extreme secrecy in Panahi's apartment and in a private house. "[9], The film currently holds a score of 91/100 on Metacritic, based on 25 reviews, indicating "universal acclaim. It stayed in the ninth position the following week, but saw a 54% increase to end the weekend with $191,688 (thus bringing its take to $396,526). [12], Like his previous two films This Is Not a Film and Closed Curtain, the film was made despite Panahi's 20-year ban from making films. Taxi Tehran Following a personally difficult but artistically rewarding spell making films under house arrest, Jafar Panahi is back on the streets of Tehran. This Is Not a Film (2011, directed with Mojtaba Mirtahmasb) showed Panahi cooling his heels under house arrest in his Tehran flat, and evoking the film that he would have made had he been allowed to pick up a camera. After making several robust realist dramas about the challenges of everyday life in his country – among them The Circle, Crimson Gold and the exuberantly angry football movie Offside – Panahi fell foul of the Iranian government, which threatened him with imprisonment, prevented him from travelling and banned him from making films for 20 years. Finally, Panahi and Hana meet with Nasrin Sotoudeh, a human rights lawyer about to see the imprisoned Ghoncheh Ghavami and possibly convince her to give up her hunger strike. Taxi (full title Jafar Panahi's Taxi; Persian: تاکسی), also known as Taxi Tehran, is a 2015 Iranian docufiction starring and directed by Jafar Panahi. Sociopolitical Documentary hosted by Jafar Pahani, Banned from making movies in Iran, director Jafar Panahi poses as a taxi driver, driving around Tehran recording the lives of its inhabitants and the difficulties they face. It also has opened in Austria where it has made $110,446 since opening on July 24, 2015. Similar to Abbas Kiarostami's A Taste of Cherry (1997) and Ten (2002), Taxi has been described as "a portrait of the Iranian capital Tehran" and as a "documentary-like film [...] set in a Tehran taxi that is driven by Panahi" with passengers who "candidly confide[d]" to Panahi. Brusquely, the man tries to silence her – “Law and sharia have spoken… so chill out, lady” – before exiting with a comment that casts ironic light on his self-righteousness. Photograph: New Wave Films, uch loose talk is bandied around in the film world about directors’ bravery and the heroism of “guerrilla” film-making – but those terms genuinely mean something when applied to Iran’s Jafar Panahi. The film premiered in competition at the 65th Berlin International Film Festival[2] where it won the Golden Bear[3] and the FIPRESCI Prize. Sociopolitical Documentary hosted by Jafar Pahani, published by BBC in 2017 - Farsi narration Cover Information . The first two passengers are a man who grumbles about tyre thieves, and proposes to hang them all, and a woman who objects that Iran hardly needs more executions. However, the less successful Closed Curtain (2013, directed with Kambuzia Partovi) was a claustrophobically self-referential chamber piece, and suggested that Panahi’s plight was getting the better of him. He wasn’t technically making an actual film, Panahi argued – yet he was manifestly making one anyway, as the world saw when the result was smuggled to Cannes on a USB stick hidden in a cake. He’s the man who keeps Tehran supplied with Woody Allen and The Walking Dead, but he’s also probably local viewers’ only conduit to Panahi’s own work; this Danny DeVito-like character may be a bumptious clown, but he’s a genuine hero of samizdat distribution. Its three-week cumulative total is $597,093. As passengers come and go, the most telling section involves Panahi’s young niece Hana (played by herself), an aspiring film-maker in her own right. One assumes that everything is staged; such is the feel of brisk spontaneity that it’s hard to tell. [11] The 2014 detention of Ghoncheh Ghavami is discussed in the penultimate scene of the film. [16], The film has been accused of Siahnamayi by conservatives in Iran.[17]. [9] According to Jean-Michel Frodon, the passengers include "Men and women, young and old, rich and poor, traditionalists and modernists, pirated video vendors, and advocates of human rights, [who sit] in the passenger seat of the inexperienced driver [who they refer to as] Harayé Panahi (Aghaye Panahi, آقای پناهی), 'Mr. The latter inquires about a burglary he recently experienced and his dilemma of not informing the authorities about the thieves, whom he personally knows, as they are poor and have nothing else to lose. However, Hana's teacher also stated that people should create films as they see fit. The passengers are played by non-professional actors, whose identities remain anonymous. The film concludes on a dark, abrupt note, but Sotoudeh’s gesture of hope and goodwill resonates above and beyond the ending. [16] The Iranian government’s film branch, the Cinema Organisation, offered a statement that was at once celebratory and critical, congratulating Panahi for the win while accusing the Berlin Film Festival of spreading misunderstanding by awarding the prize to Panahi. But Panahi has made a work of invention and brio that remains visually lively throughout, despite its formal restrictions. J afar Panahi is the Iranian film-maker and democracy campaigner facing official harassment with unique wit, grace and humanity – all apparent in his new movie Taxi Tehran… published by BBC in 2017 Panahi has recently had to be cautious about crediting collaborators, for their own safety; but this time he notes, in a sardonically piquant closing caption, that he can’t name anyone because Iran’s ministry of culture and Islamic guidance only approves the credits of distributable films. I don’t know whether Philip ever got to see Taxi Tehran, but I think he would have relished this expression of faith in the act of film-making as a vital and joyous undertaking. [15] Because Panahi was legally unable to leave Iran to attend the festival, his niece Hana Saeidi (who appears in the film) was there to accept the award on his behalf. His earliest passengers include a conservative-minded man who supports capital punishment and a woman supporting its abolition, a pirated video vendor named Omid who once lent foreign films not available in the country to Panahi, an injured man and his wife who both insist on recording a last will due to their panic, and a pair of superstitious old women wanting to release their goldfishes to a holy spring. Taxi portrays director Jafar Panahi as he courses through the streets of Tehran while pretending to be a share taxi driver. However, his survivor spirit and delight in cinema’s possibilities have endured, and re-emerge to sparkling effect in Taxi Tehran (or plain Taxi, as it was called when it won the Golden Bear at this year’s Berlin film festival).