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Iranian director Vahid Jalilvand’s second film No Date, No Signature became Iran’s submission in 2019 for the Oscars’ Best Film Not in the English Language category. It would be a miracle if his latest, Venice competition entrant Beyond the Wall, gleaned the same honor, not because it wouldn’t be a worthy choice — it’s a ravaging, powerful work. It’s just that it’s impossible to imagine the Iranian authorities would approve submitting it.
Overtly critical of the repressive state apparatus, especially its capriciously cruel and violent police forces and merciless justice system, this feature played in Venice without Iranian government support and no doubt places Jalilvand in the ranks of audacious cinema dissidents, along with currently imprisoned filmmakers Jafar Panahi (whose latest No Bears also plays Venice this year), Mohammad Rasoulof and Mostafa Aleahmad.
For this twisty study of guilt and self-sacrifice,...
Iranian director Vahid Jalilvand’s second film No Date, No Signature became Iran’s submission in 2019 for the Oscars’ Best Film Not in the English Language category. It would be a miracle if his latest, Venice competition entrant Beyond the Wall, gleaned the same honor, not because it wouldn’t be a worthy choice — it’s a ravaging, powerful work. It’s just that it’s impossible to imagine the Iranian authorities would approve submitting it.
Overtly critical of the repressive state apparatus, especially its capriciously cruel and violent police forces and merciless justice system, this feature played in Venice without Iranian government support and no doubt places Jalilvand in the ranks of audacious cinema dissidents, along with currently imprisoned filmmakers Jafar Panahi (whose latest No Bears also plays Venice this year), Mohammad Rasoulof and Mostafa Aleahmad.
For this twisty study of guilt and self-sacrifice,...
- 9/9/2022
- by Leslie Felperin
- The Hollywood Reporter - Movie News
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