A film in several episodes with Bijan Daneshmand and Mania Akbari, exposing some of the issues of men and women within the confines of tradition and family life in Iran. Each episode ...
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In a post-Taliban Afghanistan a young woman (Agheleh Rezaie) attends school against her conservative father's will, hoping to learn more about democracy to fulfill her dream of being the country's next president.
An epistolary feature film: a cinematic discourse between a British director, (Mark Cousins, the celebrated film maker and historian) and an Iranian actress and director (Mania Akbari, ... See full summary »
A film in several episodes with Bijan Daneshmand and Mania Akbari, exposing some of the issues of men and women within the confines of tradition and family life in Iran. Each episode displays a different form of male/female interaction. The placing of the actors in a moving vehicle or against a moving back drop signifies the movement of life despite all the obstacles in its way. The film deals with the roots of dependencies, limitations, power struggles and conflict that are the familiar stuff of life of couples in the Middle East. Written by
Setareh Moayed Sabeti
Had its World Premiere at the Venice Film Festival September 2004 where it was awarded the Best Film - Venezia Cinema Digitale. Subsequently the film has been selected and screened at the following Film Festivals: Los Angeles AFI FEST International Feature Competition, Vancouver- New Cinema, Sao Paulo- Young Directors, India, Gijon-Spain, Zagreb. In December 2004 it was awarded the Grand Jury Prize for the Spirit of Freedom, International Film Competition at the Bahamas International Film Festival. See more »
20 Fingers strives to portray events in a realistic manner. Everything contributes to this concept. The conversations are seen in their entirety in long takes, shot in natural (practical) lighting and in real-world locations with 'stolen' footage. The sense that this is a film about a real Iran is palpable and exciting, even given Iranian cinema's usual favoured realism. Out of this, one response is to question if there is an actual narrative to the events, or whether these are simply snapshots. It is very difficult to place the conversations in an order, so this seems to obstruct an attempt at creating a 'story' out of these events. This only serves to increase the realism after all, real life does not run to any pre-conceived plot. However, the realism means that this relationship is assumed to continue after each fade to black, so the conversations that are shown may construe some particular meaning. Even from the first conversation there is a sense of conflict between the two. This is referred to in every conversation as jokingly 'the games we play'. One criticism I think can be levelled is the familiarity of this phrase in popular culture, certainly western culture, and so in some moments its inclusion can seem a little trite though perhaps the fault lies in a lazy translation. However, obviously the idea of the relationship being a game runs throughout, and this lies in stark contrast to the perception of Iran as a formal, strict society.
As a film made for foreign audiences, the on-screen relationship of the two actors, dynamic and amusing and often violent, is an undeniable eye-opener.
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