Hit the Road

"Long takes statically home in on the characters, who are often inside the vehicle in close vicinity to the camera, whose unspoken emotion and poignant expression is what audience dwells on. As an impending departure is on the horizon, feigned playfulness flakes off a mother's face and bares irrepressible sorrow; a father's habitual sulkiness morphs into resigned tenderness and advice-dispensing, yet his prolong incapacitation (with one injured leg in plaster cast) might take on a more figurative signification here. The only constant is the younger son, whose bratty, sassy cuteness inclines to get under one's skin in no time.

However, when the chips are down, a fixed wide shot keeps the emotional leave-taking in the yonder, a scenic composition with people reduced to ciphers, but its effect is no less impactful, the mother's scurrying desperation is all the more visceral in one's imagination. After a botched last goodbye, HIT THE ROAD finishes with a threnody for the moribund pet dog, vicariously it is also for the departed, but the lip-syncing gimmick seems to push the film towards mawkishness."

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No, I've never heard of this but not only is it our second Iranian film on the list, it's the second film made by a member of the Panahi family - the last one was very peculiar indeed, so I'm hoping for something a little more straightforward this time (it would struggle to be less straightforward!).

On the face of it, we've got something pretty simple - a family taking a road trip. Dad is grumpy with a broken leg, Mum seems a bit more sensible and trying to keep everyone in line, the eldest son is very quiet and the youngest son is QUITE the handful - precocious beyond belief and he won't shut up, but he's also pretty funny.

As time goes on, it becomes clear why they're on the road trip and emotions run high with everyone reacting in their own way to the situation, with the family unit still being the overriding factor. All in all, the film is a thoughtful meditation on family relationships - particularly what you'd do for your children, no matter what the cost to you. You'll always love them, even if they drive you mad or are acting quite unloveably - and you'll always want to give them advice, no matter how much they don't want it! And in that vein, the film meanders its way to a bittersweet but very satisfactory conclusion - it manages to pack a whole lot more plot in there than you initially envisage, with it being slowly released as the film progresses.

It's all well acted - Hassan Madjooni and Pantea Panahiha (the parents) in particular do a great job but Amin Simiar (the elder son) and Rayan Sarlak (the younger) join them in acting as a believable family unit. There are other people in the film, but it's fair to say they don't have the chance to shine - except for the cyclist in a road race that they accidentally knock over who takes his moment in the spotlight well.

The film is well written on several levels - it has believable characters, who you like and root for, even if they're not behaving at their best. They are also in a believable relationship - there's a lot here that will chime with anyone. But on top of that stable core, it also introduces some lovely song/dance routines and flights of fancy at times.

It has an utterly charming scene wherein the dad (wearing a very snazzy gold sleeping bag suit!) and youngest son talk utter nonsense about how much Batman's car is worth (and it feels exactly like the sort of thing a real family would talk about anywhere in the world). And as they talk, stars appear in the grass they're lying on and then it's slowly replaced by the night sky - it's just so lovely. It also manages to have a remarkably poignant scene where one of the family is tied to a tree and screaming his head off - which is quite the achievement.

It's also well filmed - a lot of it takes place in the car but it all feels well thought out. It's also got very cool scenery - there's all sorts in Iran it appears and it looks to be a beautiful country, but I suspect I won't be paying it a visit any time soon. And since it was both written and directed by Panah Panahi, he thoroughly deserves a name-check (and I enjoyed this a lot more than I enjoyed his father's film).

I wouldn't say this is a "great" film, but it's thoroughly enjoyable and relatable, whilst also having plenty of content to make you think a bit deeper about things and maybe appreciate your life a bit more. I also imagine that making any film in Iran is not a trivial undertaking (it really isn't), particularly one with some political content, so credit is due to the team involving in getting this out there. Some aspects of this film are very specific to Iran, but it feels easily transferable so I wouldn't be surprised to see an English language remake at some point - although in several places I was very much reminded of Little Miss Sunshine, so there's possibly an argument this is a Farsi-language politicised version of that!

Provided you don't mind subtitles, I think this is well worth watching - at the time of writing, it's available to rent in all the usual places (it's much more widely available than I was expecting) so maybe check it out.

An absolute gem in Iranian cinema, where Panah Panahi the son of Jafar Panahi takes the realism to another level, where the reality of life in Iran becomes surreal. "When we were kids, we would swim in it. Nowadays, you can only have a dust bath." The film depicts the very last trip of the family together. But Panahi keeps it real as it is in life. He shows simply by deeply the worries, sorrows and concerns of each family member. The movie is really Iranian, bittersweet. We've learned how to laugh and make jokes in our craziest, saddest times just like when the Mom is dancing with tearful wet eyes.

The actors are great but Pantea Panahiha is absolutely brilliant. Dialogues are so well written and the movie is full of poetic long shots which Panahi has brought from the cinema of his dad and predecessors masters like Kiarostami but it never gets boring.

(I believe that this movie is very Iranian and may confuse or tire foreign viewers, for example, why is the cheating of that cyclist interesting? Or what is the story of Lake Urmia, which has become a barren desert, etc.) But for me, as an Iranian, that is exactly the reason I watch movies.

The challenge of "laughing to hide the sadness" does not leave not only the characters of the movie, but also the audience for a moment.

This movie is far away from Iranian cliché and every moment of it is surprising while is simple as well. The acting is brilliant, even the young actor.

The depth of the story is felt by those who have been involved in the migration phenomenon. Those who once only saw the beauty of their homeland and kissed its soil with love.

However, I think the movie should have ended in the night sky scene; Or at least in the foggy morning scene.

The war doesnt end when the last bullet is fired. The aftermaths of the war are so deep it takes a lot to get out of that, even after the war is over. The numbness it creates into our heart to the things which otherwise would have split our soul into pieces. We have to act hard on the things which are tearing us apart. The story is good, you can feel the tension in the car. The extreme steps and the heart they have to bear for this. Things dont always pan out the way we think. Almost all 10-12 year kids are annoying. He played his part best. He is like the audience, not knowing what is happening around them. Visuals were great. Also, the persian music hits too close to home. Start is a bit wobbly but it catches on later, some parts seems stretched but overall nice experience.