Jazireh ahani

You will not find a better metaphorical study of Post-revolution Iran than this film, one so threatening that the Iranian authorities tossed famed director Rasoulof into the brig. A self-absorbed captain of a stalled and sinking ship runs his vessel like a clueless despot, ripping off hard-working but naïve passengers. Exploited onboard youth get meaningless education, and a lovelorn adolescent who bolts for a better life gets tortured, mostly to deter other kids. The lying captain inefficiently uses the scant ship resources, like steel and oil, and misapplies the proceeds to strand his impoverished subjects in an arid land. There is a bud of hope at the end, but like reality, if you blink you will miss it. AfroPixFlix drops a 10-forked anchor.

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'Island' floats in a sea of humanism.

Like the great Iranian filmmakers, Rasoulof has no use for the artificiality of heightened drama. He opts, instead, for a more universal humanism, which is a better teaching tool. The captain, of course, is no less than a professor of cockeyed optimism. Even if the ship sinks, as far as he's concerned, hope still floats.

The most fascinating thing about life is our unique experiences as people, which includes our loves, our sacrifices, our joys, our successes and failures . ABOVE ALL how much time and feelings & care for other ? That you have !!! Feelings of mystery.

This is the second feature film of the brave young director Mohammad Rasoulof, who after winning so many international awards for 9 feature films he directed and wrote, depicting veiled criticism of life in Iran, is currently imprisoned in the notorious Evin prison in Iran. "Iron Island" won the Golden Peacock for the best film at the Indian International Film Festival. His subsequent 8 films have won major awards at Cannes (twice), Berlin (Golden Bear for Best film), Chicago (Best Screenplay), Denver (Best Film), Dubai (Best Film), Durban (Best Feature Film), Hamburg (Political Film Award), Milwaukee (Best Director), Sydney (Sydney Film Prize), and Telluride (Silver Medallion Award).

"Iron Island" is a contemporary Noah's ark, where a disused oil tanker, awaiting shipbreaking, provides refuge for homeless poor Iranians, young and old, under a seemingly benevolent "Captain" who is able to provide food and medicines for the refugees by selling metal parts and oil in the ship. The Captain is a veiled representation of the Iranian Government, which is dictatorial and brutal to those who step out of line while appearing to be benevolent. The motley refugee group represents the innocent who accept their fate without being able to question their benefactor. This film may not be as sophisticated as Rasoulof's later films but it makes you think beyond the obvious tale. Rasoulof is definitely one of the finest filmmakers in Iran, now languishing in prison. His crime--he made movies critical of life in Iran in the recent decades--films that won so many major awards and acclaim that few other filmmakers worlwide can equal.

While the works of maestro Kiarostami and Makhmalbaf are part of a more philosophical, sometimes Godardian/Haneke avant garde film school, Iron Island represents another side of iranian cinema, one that is closer to the classic "greek" Hollywood style. The plot driven film. But this is a plot driven film that also uses the plot to present a satire of the society. Not only the iranian but a more general comment on the modern society. The director is very precise and throughoughly chooses simple but strong symbols on presenting his work. A miniatyre society (on a rusty old oil tanker in the persian gulf that is constantly sinking) lead by captain Nemat. There is a fully (dis)functional society on this boat. Nemat is a strong totalitarian leader but a balanced person thats very hard to judge. Nemats complex character is one of the most well crafted and vital parts of this film. There is also a love story off course. A forbidden love between two of the youths on this boat. Nemat, these two youths a teacher/scientist and dozen of other characters each represent a person and a way of thinking that in addition to being autonome characters also are used to show Nemat. These persons are also used to show Nemat, by showing Nemats reaction to these people.

Also the imagery is fantastic. The old rusty tanker a great contrast to the blue sea. Brown and yellow against the blue sea and the sky. Nemats (Nassirian is one of the most important theatre and film actors in Iran) face expressions alone, are just incredible (one can see parallels in the use of face expression to Eisensteins "Potemkin").

In short, Iron Island is one of the most interesting Iranian films in a long time.

I was most impressed by this movie, especially since I was going to it (with my wife) out of a sense of duty: it wasn't one of my choices at Toronto Film Festival. Frankly, I expected to be baffled and bored, as I have been by terribly earnest subtitled movies in the past. I was pleasantly surprised to find that it held my interest from the first scene. The unusual setting had a great deal to do with this -- the ship's crumbling superstructure, its dank and scary innards, the small domestic comforts of its tenants, the vast watery landscape outside -- all beautifully filmed. You are dumped right into the middle of all this, as if you were one of the tenants newly arrived, and watch a newbie get the full treatment from the Captain -- the leader and self-styled benefactor of this band of poor outcasts. You find your way around and get to know the people and their ways, but this is not a documentary, nor does it pretend to be. Our interest is not sociological, but just human. The Captain is at the centre of all this, and his character is at issue throughout. Is he really a saviour and benefactor, or is he just using the young men on board as a source of cheap (free, actually) labour so he can steal the remaining crude oil and valuable parts from the ship, before its owners send it to be cut up for scrap? By the time you have absorbed enough of the narrative to wonder about this, you have grown acquainted enough with the tenants' problems and aspirations to care deeply about this, and to follow his actions with keen attention. In the end, the viewer has to make up his own mind about the character of the man, the rightness of his actions. There is no foregone conclusion.