Jadde Khaki
Hit the Road
Tartalmak(1)
Panah Panahinak, Jafar Panahi iráni mester fiának és munkatársának játékfilmje az iráni road-trip filmek hagyományait váratlan fordulatokkal egészíti ki. A film középpontjában egy négytagú családot van – két középkorú szülő és fiaik, az egyikük egy hallgatag felnőtt, a másik még egy túlbuzgó hatéves –, amint keresztülutaznak az iráni vidéken. Az utazás során felelevenítik a múlt emlékeit, megküzdenek az ismeretlentől való félelmeikkel, és beteg kutyájukért izgulnak. Kimondatlan feszültségek támadnak, és egyre intenzívebbé válnak az érzelmek, ahogy lassan kiderül utazásuk rejtett célja. Humanista dráma, amely hiteles, nyers és mélyen őszinte portrét nyújt egy iráni családról, amely arra készül, hogy megváljon egyik családtagjától. (Cinemax)
(több)Videók (3)
Recenziók (4)
Sort of an Iranian Little Miss Sunshine. For some time a dysfunctional family is nearing a moment of great parting, but is no longer able to communicate with each other at all. First-rate yet economical cinematography, superbly written and acted characters (especially the sage and selfish father who continually fakes his way out of any responsibility), and perhaps the first Iranian film I've noticed that has humor in it. If it didn't have those tendencies to press the poetic key too hard (figuratively and realistically), I'd bump the rating up a notch. Considering that I've been using Persian films as a pejorative epithet for academic tedium, this is actually a big thrill.
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In his highly mature and firmly grasped debut, the talented Panah Panahi clear does not disavow his father. Hit the Road is essentially a drama about a family’s parting from their adult son, who is leaving his homeland. Despite the seriousness of the situation, however, the film falls more into the genre of comedic road-movies in which humor and bitterness are perfectly balanced. From the very first scene, the film abounds with directorial ideas, finely honed humorous (and occasionally sad) situations and funny verbal interactions between the individual family members – besides the brooding introverted older son, the passengers in the rental car include the extroverted and extraordinarily energetic younger son (one of the best performances by a child I have ever seen in a film), the talkative dad with a broken leg, the caring mother who promised not to cry and a sick dog. The confined interiors of the car alternate with carefully composed shots of vast exteriors filmed from afar. The cinematography is generally beautiful. The film does have its flaws – the humor occasionally misses the mark (the ceaseless ridiculing of the elder son doesn’t seem very funny, though it was probably supposed to), the somewhat unclear context of the reason for the son’s journey dilutes the emotion a bit, and the ending is needlessly sentimental. Otherwise, Hit the Road is a huge surprise that arouses extreme curiosity about what this filmmaker will come up with next.
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Hit the Road was my first encounter with Iranian cinema and I can say that this film will leave an impression on the viewer. A seemingly funny film, it gradually turns from a light-hearted family road movie into a dense story with a bitter aftertaste of (no) hope. Panah Panahi plays with hints in an artful way and leaves the viewer wondering about the reason for the journey for a certain period of time. I commend the cast, especially the little brother, who, though annoying at times, was portrayed incredibly well. The scene with the cyclist was really amusing, while the distant but all the more powerful goodbye got to me (even at a distance). The ending was a bit bizarre, but memorable nonetheless. A weaker four stars!
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