7.7/10
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The Green Wave (2010)

Not Rated | | Documentary | 24 February 2011 (Germany)
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1:18 | Trailer
A documentary on Iran's 2010 Green Revolution.

Director:

4 nominations. See more awards »
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Cast

Credited cast:
Mohsen Kadivar ...
Himself (as Dr. Mohsen Kadivar)
Mitra Khalatbari ...
Herself
Shadi Sadr ...
Herself
Mehdi Mohseni ...
Himself
Payam Akhavan ...
Himself (as Prof. Dr. Payam Akhavan)
Babak ...
Himself
Zahra Renaward ...
Herself (archive footage)
Emir Farshad Pebrahimi ...
Himself
Shirin Ebadi ...
Herself (as Dr. Shirn Ebadi)
Ayatollah Ali Khamenei ...
Himself (archive footage)
Mohammad Khatami ...
Himself (archive footage)
Pegah Ferydoni ...
Azedeh
...
Kaveh (as Navíd Akhavan)
Rest of cast listed alphabetically:
Mahmoud Ahmadinejad ...
Himself (archive footage)
Milad Klein ...
Ali
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Storyline

A documentary on Iran's 2010 Green Revolution.

Plot Summary | Add Synopsis

Genres:

Documentary

Certificate:

Not Rated | See all certifications »
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Details

Official Sites:

|

Country:

Language:

| |

Release Date:

24 February 2011 (Germany)  »

Also Known As:

Vihreä vallankumous  »

Filming Locations:

 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(theatrical) | (2012) (TV)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Connections

Referenced in The Smallest Red Carpet, But the Biggest Heart (2011) See more »

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User Reviews

 
documenting life in the era of social networking
5 February 2011 | by (United Kingdom) – See all my reviews

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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