Turbulent comedy about two Palestinian brothers who smuggle the dead body of their father from Jerusalem to Ramallah with the Israeli Police, a bunch of terrorists and the Russian Mafia breathing down their necks.
Shin Dong-Huyk was born on November 19, 1983 as a political prisoner in a North Korean re-education camp. He was a child of two prisoners who had been married by order of the wardens. He ... See full summary »
Two business executives--one an avowed misogynist, the other recently emotionally wounded by his love interest--set out to exact revenge on the female gender by seeking out the most innocent, uncorrupted girl they can find and ruining her life.
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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