An almost accidental romance is kindled between a German woman in her mid-sixties and a Moroccan migrant worker around twenty-five years younger. They abruptly decide to marry, appalling everyone around them.
Rainer Werner Fassbinder
El Hedi ben Salem,
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Rahmat has been asked to meet the inhabitants of these islands to collect their tears. Although for years people have been giving their tears to Rahmat, no one knows exactly what he has been doing with them.
A man and a woman seeking refuge from the world: Nihat at a remote forest fire tower, Seher in her room at a rural bus station. When their lives collide, each now has to fight their battle of conscience before the other.
To save the family's butchery from insolvency smallish, sensitive Mohsen heads to Poland to buy low-priced sheep. On his way he lands somewhere in the middle of nowhere in Eastern Germany ... See full summary »
The Green Wave is just a taste of what documentary filmmaking might become in the era of social networking. The film is a collage of real life footage and animation, based entirely on blog posts that were written by a number of anonymous Iranians who experienced the aftermath of the election chaos in Tehran. Aesthetically there are certain parallels that can be drawn between The Green Wave and another political animation film, Waltz with Bashir. But unlike Wlatz With Bashir, The Green Wave uses its animation segments not to make intellectual statements on the terrors of war, but to fill in holes between the personal stories of showcased bloggers and the footage that the director of the film managed to access over the internet. The narrative is powered by the blog updates in a very un-cinematic way and so the images are merely the illustrations of the terror the Iranians had to embrace.
The collection of different personal takes on the political situation in Iran although not quite imaginative in its use of cinematic language, is definitely needed and was certainly appreciated by the audiences at Sundance. The bravery of the people who agreed to show their faces on the screen and make clear statements against the Ahmadinejad's regime are admirable; Ali Samadi Ahadi uses the means of social networking as a crucial tool in obtaining information about the abuse caused to the Iranian people during the unfair election of 2009 and does it very poignantly and with heart. He proves that even such atrocious regime as the one conducted by Ahmadinejad cannot withhold the truth completely in the era of facebook and Google. Most importantly though, Ahadi shows that as the means of communication change rapidly so does the language of cinema and so the political filmmaking must remember to reach for new sources of information and look for new forms of expression.
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