Three Faces

Most of the themes of "3 Faces" will be familiar to dedicated fans of Panahi (and Kiarostami), and at the same time the film might slightly confuse the uninitiated. That said, it's an awesome work of fiction-flirting-with-cinema-verite, with an ear for women that is well beyond what Panahi's deceptively chill on-screen persona implies, colorful minor characters, and a perfect laid-back rhythm.

I really enjoyed seeing a part of the world that feels distant to me but I hate to say that was about it. If there was a whole lot more to see here I have to admit I missed it.

The opening fixed camera/surveillance camera perspective is used to such great dramatic effect that Haneke (the master of this style) would be impressed. Indeed, the use of phone footage also has parallels with Haneke's interests. This is a highly enjoyable road trip of sorts - despite the serious nature of the storyline - full of richly drawn characters equally matched by the beauty of the physical landscape. And as it's Panahi, a film about film.

Very much unlike Panahi's other films, there's something distracting him from focusing in on particular Iranian culture, especially of women, which gets replaced with something more rudimentary. An investigative and engaging watch, but one not entirely rewarding.

Viewed January 10, 2020.

Yer yer ritmini kaybediyor. Özgün fikir, kayıp bölge. "Sessizlik masumiyete işkence eder..."

kiarostami with more political rage, dick jokes and lines like "let a corpse do what it likes and it will shit itself". flirts with examining the roles of filmmaker and actor in this disapproving or forcibly oblivious society they're critiquing (and paralleling?), panahi lurking in the background like the wry, slippery, inscrutable puppetmaster he is, but becomes less remarkable when his intentions resolve into more straightforward feminism (vs. some rather easy--albeit funny--targets).

Another humane Panahi film about Iranian society that blurs the line between fiction and docu. But the movie doesn't have enough subject for its runtime, making it slack at times.

The problems are subtly felt on screen yet they are so common that I was disgusted to recognize them all while watching so I'm not quite sure how to describe the way it affected me as a non-european, female audience.

While cars, natural spaces and small villages resemble Kiarostami, Panahi uses his evasive, clinical look to depict how sexism as evil tradition. People are gentle and kind, unless you are an artist. If you are woman, oh, hell. A young one has been accepted in the university, but has to forge suicide and send a video to a famous actress to get help. While she and Panahi tries to solve the mystery, they find another victim of patriarchy: an old dancer renegated and secluded to her home; a shadow.

İntihar eden genç 1 kız, Jafar Panahi'nin telefonuna video gönderir. Jafar Panahi ve eşi, köye gidip kızı bulmaya çalışırlar. Etkileyici 1 öykü. 1 yol hikayesi de olan film, merakla izletiyor. Doğu kültürünü de abartısız gösterilmiş. Filmin sonunda, iyi bitiyor. Pek etliye sütlüye dokunmamış. Olan arabaya oldu. Dünya yalan dünya. Süleyman'dan Nuh'dan kalan dünya.

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Ostensibly a tale about, right, three faces (show biz ones), it shows many more as extras, i.e. the country folk, those of the narrow mind, the tradition, the superstition, the wariness towards strangers. In this Iranian backland Panahi stumbles around, playing the straight man to the wacky villagers. The film starts with an amateurishly imagined suicide note and doesn't get less clumsy and opaque as it opens up. It's a tribute that made me appreciate the mysteries of Kiarostami a bit more.