Takhté siah

This is a rather well made movie, that shows some of the problems in Iran that affects its poor northern citizens, without luckily ever getting over-dramatic or too sentimental but at the same time it's also lacking in true depth to make this a powerful or impressive movie.

It's a slow moving movie that is entirely filmed with handhold camera, with lots of long sequences. It works good for a realism and the atmosphere of the whole movie but at the same time means that this is not a movie for just everyone. You must be able to handle the slow- and different way of storytelling to appreciate this movie fully.

The movie is good looking, with its moody, never-ending, landscapes and good camera positions to tell the story with. The dialog is realistic, though not always interesting. I mean they basically say the same things five times in a row in this movie, which perhaps is a bit irritating. This is also due to the non-professional actors that play in this movie. Needless to say that not everything works out fully in this movie, especially when it comes down to the true emotion or depth of the movie. Lucklily there is no lack of realism, although the movie its story pushes it at times. But on the other hand it's the story that still makes this a pleasant movie to watch. The subject might be heavy and serious but luckily the movie doesn't try to emphasis this. The end result is a good and not heavy to watch movie that is absolutely worth seeing but lacking in real emotions or depth to make a true lasting impression.

The movie is told from an original point of view; A couple of schoolteachers that travel trough the North of the country to remote villages and groups of refugees, to teach them the basic things such as writing, reading and simple math, to try and give everyone a better future and at the same time earn some money or get some free food as well. They're mixed up in all the difficulties but yet they're no part of it. If they want they can walk away from all the troubles if they choose to. They're objective in the whole situation and they don't do more than is ever asked of them.

Most of the characters in this movie are being played by non-actors. It works realistic but at the same time is one of the reasons why the movie is lacking in any true depth or well acted out emotions. The movie as a whole is effective and it makes its point well but it does so without ever impressing too much, with the exception of one or two great sequences.

Samira Makhmalbaf has some good and promising potential as a filmmaker and is possible future Oscar potential, just like her father, who also co-wrote this movie but her movies have to become even more confronting and daring if she wants to achieve that.

7/10

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BLACKBOARDS is a human story - an arduous one at that. It affirms the tenacity of human spirits. Its hard medicine content could be uneasy for some to bear. At its core, there is warmth a-glowing beneath it all. Writer-director Samira Makhmalbaf is a true artist - she included subtle visual poetic accents. Shooting along the rugged terrain of Kurdistan, nearing the border between Iran and Iraq, it's barren of vegetation, full of treacherous rocks as people traverse the steep mountain paths and windy troughs. I really appreciate a particular detail scene: from the held wide-shot of a group of teachers with blackboards strapped to their backs, standing abreast at a mountain road clearing - paused, camera quietly cuts to a close-up of a pair of feet with 'billowing' fabric of the trousers. We need no sound effect of whistling wind, the shot was at once poetic and effective. How succinct and direct in expressing the moment, Samira did.

For a 20-year old woman Iranian director in her second feature film, Samira Makhmalbaf is awesome - sensitive, perceptive, mature in her viewpoint, with bold persistence against all odds to complete her project. Keen awareness of the state of affairs her film is focused on - not so much as making a political statement, she's more in earnest depicting simple everyday things: the mundane human needs of the wandering Nomads yearning to be home; the young 'mule' boys struggling for meager living yet looking out for each other; teachers seeking pupils in exchange for food. It's philosophical: through the course of the journey, the fate of the blackboards goes through transitions as situations demand - even "let go." Survival and adaptability co-exist.

Samira has a good mentor - her father Mohsen Makhmalbaf, who is a collaborator on the writing of "Blackboards" and her first feature, "Apple, The" 1998 (a bold unique storytelling in docu-drama format). She also has the expert assistance of cinematographer Ebrahim Ghafori, who previously worked with her on "Apple." Bahman Ghobadi is the actor who portrayed the teacher who ran into the expedition of the young 'mule' boys with contraband goods on their backs. He was the writer-director-producer of the film "A Time for Drunken Horses" 2000, and here in "Blackboards," it's déjà vu - this time is not of snowy setting, but included brief dramatic storyline between him and the boys. Reality is still bitter truth, but Samira kept the element of humanity intact.

Other efforts from the Makhmalbaf family include: "Day I Became A Woman, The" 2000 by Marzieh Meshkini, Mohsen's wife. "How Samira Made the Blackboards" (it'd be interesting to see how Samira shot the film in such arduous circumstances and with mostly non-professional cast with wide age differences) by Mezssam Makhmalbaf, Samira's brother. Father Mohsen Makhmalbaf did "Gabbeh" 1996 and "Kandahar" 2001.

More Iranian films? Try writer-director Majid Majidi's "Baran" 2001 - a poignant story about a young man (17-year old) in Tehran, how he matures through his deeds in trying to help an illegal Afghan of a poor family - it's a rich human story from the filmmaker who gave us "Color of Paradise" 2000 and "Children of Heaven" 1999.

I understand the vigorous debate Samira Makhmalbaf's BLACKBOARDS, has generated, but I'd also say that I loved this very demanding but often moving film - a remarkable achievement for a very young, but already accomplished filmmaker. Watching her career develop will be quite a treat.

Shot with hand-held cameras and featuring a Kurdish cast of non-actors, BLACKBOARDS is very slowly paced, with a rambling quality that captures the aimless down time of everyday life. However the restless camera work also fills the film with an unceasing tension, gradually revealing the desperation filling the stateless existances of the many nervous characters.

The politics of the region are an ever-present backdrop to the story, and unfortunate political machinations render both education and basic survival an arduous complexity - to live and to gain even the most basic of educations are made into luxuries, which - even in desolate and strife-torn landscapes - some are willing to die for.

A handful of moments stood out for me: the scenes set in the river camp showcase the warmest of human interactions, and the final scene is remarkably beautiful.

This very rigorous film (superficially reminding me of both Abbas Kiarostami and Tsai Ming-liang) nonetheless had me hooked.

Blackboards is a very good film: well acted and engaging. The story is fresh: a group of Iranian teachers with blackboards on their backs, trying to each undereducated Kurdish refugees how to read, write, count, et cetera.

The film is filled with endearing characters: a sharp young boy working as a mule, a teacher desperately trying to teach those around him, an old man with urinary problems, a woman whose chaotic life has been extremely painful and just wants to be able to hold on to her son. Samira Makhmalbaf has revealed herself as a humane filmmaker with a good eye for drama in everyday life. The film is honest in its vision of a world where reading and writing seem so useless, where the only thing that matters is the ability to keep on moving. That is what makes the teachers' attempts to teach the many refugees so pathetic. I feel that a good filmmaker like Makhmalbaf, someone who has a story to tell and knows how to tell it, is better than the dozens of pretensions auteur filmmakers with their overblown visions and obnoxiously pointless powerhouse melodrama.

This wonderful movie (shown here as "Blackboards") demonstrates the power of cinema to communicate circumstances and situations that are totally alien to those of us watching in comfort during a U.S. film festival.

The Director/Screenwriter, Samira Makhmalbaf, literally learned her trade at her father's elbow. He taught her well. Makhmalbaf was only twenty years old when she made this movie, but she has already acquired the skilled director's eye for filmmaking.

The locale in which the film is set is totally alien to me. The mountains of Iran offer stones and more stones. I believe this is the first picture I have ever seen where there is not a single image of a tree or even a green plant. The mountains are made of rocks, and the homes are made of rocks, and most of the characters in the the films spend their time climbing up, down, and between the rocks.

In this incredibly harsh, barren, non-nurturing environment, two young teachers carry blackboards on their backs and try to find someone--anyone--who wants to learn to read and write, and who can pay for this instruction.

Obviously, the teachers are motivated by their basic needs for food, water, and shelter, but--like all good teachers-- they are also motivated by the desire to teach.

Each teacher attaches himself to a group of people moving across a border. (I was never sure which border this was--I think it was from Iran to Iraq.)

Each group has endured hardship and tragedy, and their journeys are filled with the threat of danger. Despite this, the teachers continue their attempts to teach.

This movie was not only powerful, but it was informative. Anyone who thinks the mountains of Iran are more or less like the mountain meadows Julie Andrews encountered when she sang "The hills are alive with the sound of music," needs to see "Blackboards." Despite this hardship, human beings survive, and their desire to learn and to teach survives as well.

An amazing film--not to be missed!

THIS FILM WAS SEEN AT THE LITTLE THEATRE, DURING THE HIGH FALLS (ROCHESTER, NY) FILM FESTIVAL. THIS FESTIVAL IS NOT LARGE, BUT THE QUALITY OF FILMS IS OUTSTANDING. WOULD BE WORTH A SPECIAL TRIP IN 2003!