The Sublime of Art of Movie-Making: on “Taxi” 2015

The very question pops up every time when we see a masterpiece: Can movie-making gets more subtle than this?

1- From the very first frame of his latest movie Taxi, Jafar Panahi alerts the audience that he is willing to go deep under the skin of a society: A still life font window of a cab in a long master shot, stopped behind the red light of crossroad in Tehran of Taleghani Avenue & Valiasr Street, waiting and waiting for the the countdown to the green light. Why he chose such a long shot in such a place to start his movie? Does he trying to convey any meaning with this names? That is left for the interpretation, But as an Iranian i can`t stop my imagination from flying; In one hand, there is Taleghani which was one of the founding fathers of Iranian Islamic Revolution, A clergy who is now conceived if it was not for his early death right after the revolution, his modern interpretation of Islam could have ruled the spirit of the governing body of the country after the revolution. A father figure who has often seen smoking his cigarettes in those nostalgic black and white photographs of the revolution. On the other, there is Valiasr, a religious epithet to the 12th Shiite Imam who is believed by most Iranian religious people to be the messiah and absent from us; The word itself means “The Warden of Era”. Personally, i respect both of these figures believers and has nothing to do with their own beliefs, but ironically enough, that shot gives me the impression that he is contemplating on the dilemma. Is he asking about the turn of history?

more to come…

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