in "Tales." The film was ostensibly conceived as a series of shorts, making it possible to get a license under the Ahmadinejad regime, but with the current government she’s been able to string together these stories of crushed hopes, addiction, abuse, and love. Like much here, the use of a docu filmmaker as a protag to make pointed remarks about the necessity of socially engaged cinema is rather too easy, yet the script excels at dialogue negotiating the male-female divide. A small international release is possible.
For the past eight years, Bani-Etemad stuck to documentaries, unwilling to make the compromises necessary under Ahmadinejad to get a feature made. Now that Iran’s government is friendlier to culture, she’s released this film, begun under the previous regime. It’s helpful, but hardly necessary, to be familiar with Bani-Etemad’s previous work (“Under the City’s Skin,” “Gilaneh,” etc.), since...
For the past eight years, Bani-Etemad stuck to documentaries, unwilling to make the compromises necessary under Ahmadinejad to get a feature made. Now that Iran’s government is friendlier to culture, she’s released this film, begun under the previous regime. It’s helpful, but hardly necessary, to be familiar with Bani-Etemad’s previous work (“Under the City’s Skin,” “Gilaneh,” etc.), since...
- 8/28/2014
- by Jay Weissberg
- Variety - Film News
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