IMDb > Nun va Goldoon (1996)

Nun va Goldoon (1996) More at IMDbPro »

Photos (see all 4 | slideshow)

Overview

User Rating:
7.9/10   578 votes
MOVIEmeter: ?
Down 3% in popularity this week. See why on IMDbPro.
Director:
Writer:
Contact:
View company contact information for Nun va Goldoon on IMDbPro.
Release Date:
12 June 1997 (Netherlands) more
Genre:
Plot:
Un ex-poliziotto quarantenne va a Teheran per incontrare il regista Makmalbaf e recitare nel suo ultimo film... more | add synopsis
Plot Keywords:
Awards:
1 win & 1 nomination more
User Comments:
Moments of Innocence Twenty Years Apart more (7 total)

Cast

  (Credited cast)
Mirhadi Tayebi ... The Policeman
Mohsen Makhmalbaf ... The Director
Ali Bakhsi ... The Young Director

Ammar Tafti ... The Young Policeman
Maryam Mohamadamini ... The Young Woman
rest of cast listed alphabetically:
Moharram Zaynalzadeh
more
Create a character page for: ?

Additional Details

Also Known As:
A Moment of Innocence
Bread and Flower
more
Runtime:
78 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 more
Certification:
Filming Locations:

Fun Stuff

Movie Connections:
References The Vikings (1958) more

FAQ

This FAQ is empty. Add the first question.
18 out of 20 people found the following comment useful.
Moments of Innocence Twenty Years Apart, 8 December 1999
9/10
Author: David Lie from Singapore

The Iranian cinema is perhaps the most self-reflexive of all national cinemas. Though it owes much to the development of Italian neo-realism, the Iranian cinema today is not just an extension of its predecessor's concerns about cinematic truth but a formal inquiry of the nature of cinema and the "truth" that lies within and outside of art. Jacques Rivette's groundbreaking "L'amour fou" already sets the stage in 1968 when he investigated the symbiotic relationship betwen art and life by using two different film stocks, 16 and 35 mm., to represent "reality" as it unfolds in front and behind the camera respectively.

In Moshen Makhmalbaf's 1996 masterpiece "A Moment of Innocence" twenty years separates a key moment in time and the recreation of it. The incident occurred when Makhmalbaf was only a youth who participated in an anti-Shah demonstration which led to the stabbing of a policeman and his imprisonment for the next five years. In an attempt to recapture this moment Makhmalbaf decides to a make a film within a film casting all the original participants (including the policeman) to play themselves as mentors to their younger selves, (i.e., actors) guiding and instructing them in the making of this "fictional" documentary.

It is not surprising that non-professional actors are employed here to both maintain a semblance of reality and to keep cinematic distortion at bay. But paradoxically, the young non-professional actors chosen to play Makhmalbaf and the policeman of their youth are as similar as they are dissimilar from their counterparts, thus, setting the stage for exploring the many tensions that exist between past and present, art and life, cinema and reality. This type of casting not only blurs the line between fiction and reality but also the distinction between documentary and narrative filmmaking.

The preoccupation with the phenomenological aspects of the cinema is as much the focus of this work as is the dramatization of the event leading up to the pivotal moment, then and now, reconstructed as a memory film as well as a product of the filmmaker's imagination to help correct an incident that only becomes clear to everyone involved after twenty years have elapsed. This celebrated moment which occurs at the end of film effectively captures the past by placing it in the present context much as if past and present suddenly converge and share the same space and time, thereby allowing us to see loss and recovery unfold simultaneously. That lost moment is now regained twenty years later through art's ability to heal and transform Makhmalbaf and his crew--thus altering the "reality" of life. The final shot is both life-affirming and referential because it so eloquently evokes the cinema's first prominent use of the freeze frame in Truffaut's "400 Blows"--if only to remind us just how far the cinema has come along. Like Truffaut's autobiographical based character Antoine Doinel the cinema has indeed grown up.

Was the above comment useful to you?
more (7 total)

Message Boards

Discuss this movie with other users on IMDb message board for Nun va Goldoon (1996)
Recent Posts (updated daily)User
How much is real? geordiebianconeri
UK DVD release andynortonuk
more

Recommendations

If you enjoyed this title, our database also recommends:
- - - - -
Gabbeh Safar e Ghandehar Persepolis House of Sand and Fog Bicycleran
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
IMDb User Rating:
Show more recommendations

Related Links

Full cast and crew Company credits External reviews
IMDb Drama section IMDb Iran section Add this title to MyMovies

You may report errors and omissions on this page to the IMDb database managers. They will be examined and if approved will be included in a future update. Clicking the 'Update' button will take you through a step-by-step process.