Jafar Panahi’s unique venturing into making a quasi-realistic cinema post-exile has entered a modest zone after Taxi (2015). Though 3 Faces wasn’t impactful as Taxi was, it came as a humble cinematic journey – sort of an early Iranian cinema.
Three actresses at different stages of their career. One from before the 1979 Islamic Revolution, one popular star of today known throughout the country and a young girl longing to attend a drama conservatory. 3 Faces is a metaphorical film for Panahi who is facing a house arrest, with characters on similar note – caged Panahi pens a determination of freedom. Panahi finds calmness in a rural backdrop where he finds tranquility yet astonishing raw characters who add gentle humour.
With long takes of human interactions at the backdrop of unchanging landscapes, the cinematography-style looks monotonous. Like Taxi, 3 Faces is also an observational sketch which travels through investigative water. It’s a profound revelation for a filmmaker with limited resource can achieve a generour mirror – subtle dynamics inserted with utmost sensitivity regarding freedom, societal norms and gender. 3 Faces are “three women” amidst societal norm unveiling oppression, on different conjectures of life and strata.
With a tantalizing premise crossing borders, Jafar Panahi’s cinematic defiance about censorship strikes – though not powerful as it should’ve been, still an introspective journey.
India Premiere | Fiction | Time: 100 Mins
Section: Spotlight | Country: India
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