07:30 PM »
Movie: BLACK TAPE-A TEHRAN DIARY
Saturday January 31 2004, 7:30PM ( Buy ticket )
> BLACK TAPE-A TEHRAN DIARY
(Ravaryete Makdus)
(2002) Directed by Fariborz Kamkari
A young Kurdish woman in Tehran receives a video camera for her
birthday and proceeds to record, often surreptitiously, the heavily
circumscribed-and increasingly disturbing-domestic life she leads
with her older, controlling husband. The film gradually reveals their
marriage to be a chilling allegory for the utter powerlessness of the
dispossessed Kurdish population. First-time filmmaker Fariborz
Kamkari borrows the conceit of THE BLAIR WITCH PROJECT-we see only
what the video camera records-to create a harrowing account of
psychic and physical confinement, complete with hints of sexual
sadism and a touch of Gothic horror. Not for the fainthearted, BLACK
TAPE is a scorching howl of protest.
Producer: Sayed Ahmad Samsam Shariat. Screenplay: Fariborz Kamkari.
Cinematographer: Tiraj Aslani. Editor: Amin Aslani. Cast: Mehdi
Asadi, Parviz Moasesi, Shilan Rahmani. Presented in Farsi dialogue
with English subtitles. 35mm, 83 min.
>>> UCLA PERSIAN FILM FEST
1.7.04 - 2.11.04
UCLA Film and Television Archive & The Bijan Amin and Soraya Amin
Foundation present
14TH ANNUAL CELEBRATION OF IRANIAN CINEMA
Like the nation it reflects so vividly and thoughtfully, Iranian
cinema is at a crossroads. Iran has an overwhelmingly young
population, and almost all of the selections in this survey of recent
Iranian filmmaking concern a generation of young people dissatisfied
with their present situation and uncertain about the future. In very
different ways, LETTERS IN THE WIND and DEEP BREATH movingly and
excitingly depict protagonists caught between adolescent rebellion
and the search for a place in society. Similarly, a new generation of
filmmakers is emerging as the trickle of titles distributed
independently grows to a flood. Like LETTERS IN THE WIND, TEHRAN,
7:00 A.M. is a first film from this independent movement, and like
DEEP BREATH, it represents a break with the kind of filmmaking that
foreign viewers typically associate with Iranian cinema. Instead of
pastoral lyricism or poetic neorealism, these films focus on the
pleasures and displeasures of everyday urban life.
The tradition in Iranian cinema of combining keenly observed realism
and symbolic allegory continues with another first film, DANCING IN
THE DUST. Yet another first feature, BLACK TAPE, combines two
concerns of recent Iranian cinema-the place of women and the place of
the dispossessed Kurds-but with a harsh contemporary edge unusual in
the films from the 1990s that put Iranian cinema on the map. Our
opening night film, CRIMSON GOLD, is a collaboration between two
acknowledged masters, Abbas Kiarostami (TEN) and Jafar Panahi (THE
CIRCLE). This film too is concerned about dehumanizing forces in
Iranian society. It is a concern with global resonance.
Special thanks to: Mark Amin; Bo Smith, Lori Donnelly-Museum of Fine
Arts, Boston; -Gene Siskel Film Center, Chicago; Tom Vick-Freer and
Sackler Galleries, Smithsonian Institution; B鲩nice Reynaud-REDCAT;
Zareh Arevshatian.
All films in Farsi with English subtitles.
Posted by ahmad () at January 31, 2004 7:30 PM
