http://www.rowthree.com/2009/11/15/afi-fest-2009-no-one-knows-about-persian-cats/ Where Cinema is more than just $100 Million productions Sun, 12 Feb 2012 05:13:21 +0000 hourly 1 http://wordpress.org/?v=3.3.1 http://www.rowthree.com/2009/11/15/afi-fest-2009-no-one-knows-about-persian-cats/#comment-40452 Peyman Javai Sun, 31 Jan 2010 14:03:18 +0000 http://www.rowthree.com/?p=21797#comment-40452 In Iran, we know only what the Western media and the national cinema willing to show us. Essentially, this inventory is limited to films whose form is exceeded only by the austere sets and two or three carriers, such as nuclear, earthquakes or popular uprising after the election presidential returning to the agenda at a cyclical rhythm. Iran is much more diverse and complex than this brief summary would have us believe. With the fifth film released in France by director Bahman Ghobadi, we have the opportunity to discover the urban youth of a country, whose lifestyle resembles more to ours, with one exception near critical. The taking of a city much more modern than the Kurdish villages that Bahman Ghobadi was used to film in his previous films, are not intended to hide the discomfort of youth who live there. The contrast between Tehran city and a southern European whatsoever is contrary exacerbated by muzzling the artists faced protesters vaguely. This small detail changes every existential parameters of a youth who is not content just to consume the products from the West, but also wants to express himself through his music as he sees fit. The need for government permission operates as a sly way. But it conditions all the way to being, thinking and acting Ashkan, Negar and others. And it provides incidentally, by its undeniable importance, the reason for the dramatic plot. For Persian Cats is primarily designed as a casual sequence of musical pieces, all intended to reflect the essence of the city that questions the protagonists, torn between wanting to leave and uncertainty about the feasibility of their plan. Formally, this movie is just a new beginning for Bahman Ghobadi, whose style we had not beaten far by his casual cool. Despite the serious nature of his subject, the film reminds us almost the beginnings of Cédric Klapisch, when it still knew how to tell a story any light not minor, as in When the Cat for example. Punctuated by a variety of clips and improvised little stylized, the story comes together to subjugate us by the look without prejudice it concerns a young Iranian lack of freedom and recognition. In Iran, we know only what the Western media and the national cinema willing to show us. Essentially, this inventory is limited to films whose form is exceeded only by the austere sets and two or three carriers, such as nuclear, earthquakes or popular uprising after the election presidential returning to the agenda at a cyclical rhythm. Iran is much more diverse and complex than this brief summary would have us believe. With the fifth film released in France by director Bahman Ghobadi, we have the opportunity to discover the urban youth of a country, whose lifestyle resembles more to ours, with one exception near critical.
The taking of a city much more modern than the Kurdish villages that Bahman Ghobadi was used to film in his previous films, are not intended to hide the discomfort of youth who live there. The contrast between Tehran city and a southern European whatsoever is contrary exacerbated by muzzling the artists faced protesters vaguely. This small detail changes every existential parameters of a youth who is not content just to consume the products from the West, but also wants to express himself through his music as he sees fit. The need for government permission operates as a sly way. But it conditions all the way to being, thinking and acting Ashkan, Negar and others. And it provides incidentally, by its undeniable importance, the reason for the dramatic plot.
For Persian Cats is primarily designed as a casual sequence of musical pieces, all intended to reflect the essence of the city that questions the protagonists, torn between wanting to leave and uncertainty about the feasibility of their plan. Formally, this movie is just a new beginning for Bahman Ghobadi, whose style we had not beaten far by his casual cool. Despite the serious nature of his subject, the film reminds us almost the beginnings of Cédric Klapisch, when it still knew how to tell a story any light not minor, as in When the Cat for example. Punctuated by a variety of clips and improvised little stylized, the story comes together to subjugate us by the look without prejudice it concerns a young Iranian lack of freedom and recognition.

]]> http://www.rowthree.com/2009/11/15/afi-fest-2009-no-one-knows-about-persian-cats/#comment-40451 Sara Torabi Sun, 31 Jan 2010 13:59:12 +0000 http://www.rowthree.com/?p=21797#comment-40451 Filmed illegally in the Iranian city of Tehran, No One Knows About Persian Cats ventures into the underground world of Iran's illicit music scene. Lurking on the margins of the city are rappers, metal bands and indie rockers – all playing music banned under Iranian law, but flourishing in underground venues and makeshift rehearsal spaces. Filmed illegally in the Iranian city of Tehran, No One Knows About Persian Cats ventures into the underground world of Iran’s illicit music scene. Lurking on the margins of the city are rappers, metal bands and indie rockers – all playing music banned under Iranian law, but flourishing in underground venues and makeshift rehearsal spaces.

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