O Espelho

Monsieur Panahi cannot resist a bit of metafiction. In this case the metafiction becomes the subject of the second part of the movie, as his lead child actress finds herself in the exact same predicament as the girl she was playing, running through the streets of Tehran, talking to all sorts of people, trying to get home. Only it starts to feel a little too gimmicky and I lost interest. Plus the fact that they were watching her from a distance, but still I couldn't help but feel they were endangering her.

Anyway, Tehran traffic is hellish and I'd be scared as an adult, let alone a child. But this kid just cannot sit still to save her life. It's true we would not have a movie otherwise, but basically stay in the playground and wait for your mother to come pick you up.

The fact that this film is set in Tehran makes it more then just a good little "slice of life" film. The setting and story give us a glimpse into ordinary life in one of the places that we westerners only read about in the newspapers and then only when bad things are happening there.

The story chronicles second grade student Mina's eventful trip home from school on a day that her mother fails to show up to take her home. Mina travels by scooter, bus, taxi and on foot through the frantic traffic of downtown Tehran. On her way home she meets with and overhears conversations by many different people from an old woman, to a police officer, to a auto mechanic. Mina also manages to quit the movie about half way through yet her odyssey continues anyway hence the film's title. Mina is very fresh and cute, the bit players are all very real and the trip home from school is fraught with situations that waiver between poignient to funny. Everything adds up to a film well worth watching.

This is a pure concept: Director has chosen to play with two resources: camera and sound. No music, no SFX.

The story itself is quite surprising.

Sometimes, the lower the budget, the greater the creativity. The border between documentary and film is blurred, so the sense of "reality" is quite present and remains till the end.

The director also plays with the audience: there is a certain point when the viewer feels to be misplaced.

As Rene Magritte's painting "la Vengeance", in which the artist does not accept the inherent limitations of his art, he dares to paint outside the easel, that way Jafar Panahi goes beyond the usual simple structure of the movies.

Just for "independent advanced" movie goers.

9/10

This gimmick was so good that it has never been done again since. It's like going on after a fumble, you pick it up and end the play but it will not be the best, it will not be beautiful but this fumble will get you to score a point. It's an interesting exercise, one that will spark debates because you either go with it or no. I get either side of the fence.

It's not cinema, but it is a meta-commentary on fact and fiction. Don't we always say that "life beats film" - then why is this not the best film ever? You still have to separate the two - or you make a documentary. This feels like due to financial constraints you continue with a mistake, and double down...

A child (Mina Mohammad Khani) waits in vain for her mother to pick her up after school. Whether she tries to resolve the dilemma herself or asks for help from the adult world, this serious little girl confronts dead-ends. At first She asks help from a motorcycle driver and the guy gives her a lift to the bus-stop then she takes the wrong bus so on and on.She challenges the adult world. "If you can show me the way I can go by myself" is a repeated line in the movie but the adult world does regard her either weak or it doesn't care about her.The close camera shot right on the little girl is very good really and the performance of this little girl deserves a standing ovation. Great job! The only thing is that I felt that the movie lacks a little bit action through the turmoil of urban life. The director focuses on littler girl more than necessary I guess. We hear some external voices (like the people on the bus) but the camera is always on the girl so this feels a little bit passive. Other than that it's really great!