una storia di musicisti in viaggio, due donne bellissime, voci che resuscitano i morti.
appassionante e coinvolgente, non sarà perfetto, ma per me è un piccolo capolavoro da scoprire.
buona visione, non ve ne pentirete - Ismaele
…Ghobadi has generally explored
three basic themes or messages in his films:
- Kurdish culture,
particularly its music
- The cruelty of political
borders that artificially separate people of a common culture
- The barbarous and unjust
way women are oppressed by the laws of the Islamic Republic of Iran.
In this film, he emphasizes these three themes with
more vehemence and with more artistic liberties than he has done in the past…
…Overall, the Kurdish music is the strongest and most moving aspect of
the film, and I would have preferred to have more of it. A particularly strong
example and the most stunning moment in the film is when Mamo retrieves Hesho
from the village of 1334 women. This symbolic scene is a visual and musical
master stroke – very contrived, but also stirring. It is also an
exquisite needle with which to prick the Iranian social restrictions on women.
According to Iranian rules, a woman may not sing in public, but a group of
women, i.e. a women’s chorus, may perform in public. When Mamo goes to this
penal colony, he is told that the women there are so skilled with their singing
that they collectively sound like the voice of a single woman. And, yes, on the
soundtrack for this scene, as they all sing together, we hear the voice of a
single woman.
…Half Moon displays both a sharpening of
Ghobadi's filmmaking (his use of landscapes for both wry absurdism and somber
reflection is especially assured) and, somewhat more problematically, an
intensification of his penchant for the fantastic. The film's increasing forays
into mysticism culminate with the appearance of the titular character
(Golshifteh Farahani), a beautiful young woman who literally drops out of the
sky just as Mamo's odyssey hits a dead end. Part heavenly envoy and part angel
of death, she's a sketchy conceit that nevertheless provides a moment worthy of
Kusturica when her singing briefly breathes life back into a body about to be
laid into the ground. Such flourishes prove redundant, however, in a film that
at its most earthbound already poetically articulates the need to keep Kurdish
tradition from falling into the grave of cultural crisis.
…his sympathy for the
underdog and belief in the power of the human spirit shine through. You’ll be
willing the cantankerous old git and his motley crew to get to the gig on time
and in one piece. But do they make it? Ah, that would be telling. To find out
you’ll have to go and see an ‘Award-Winning World Cinema Masterpiece’. And, trust me, you won’t regret it.
…The film looks at a group of Kurdish
musicians, who decide to perform a concert in newly liberated Iraq. The head of
the group is Mamo, a celebrated Kurdish musician, who brings his ten sons (yes,
there are definitely absurdist qualities to the film, especially given that
some of the sons look older than Mamo) along with him as his musical
accompaniment. They hire a rickety bus, which one wonders how it could drive on
highways, let alone the rugged Kurdish landscape. He also needs a female
singer, but as Iran does not allow female singers, they have to resort to
rather desperate smuggling tactics.
mi manca...ho finalmente reperito qualche giorno fa 'il tempo dei cavalli ubriachi', spero di recuperare anche questo perché il cinema di Ghobadi mi piace moltissimo
RispondiEliminacome hai capito, mi è piaciuto molto, cercalo, l'Iran è pieno di bravi registi, ma se ne conoscono davvero pochi, e molte perle, come questa, restano nascoste.
RispondiEliminaanch'io continuerò la ricerca:)