non compra le lacrime, le situazioni della vita gli permettono di ottenerle.
non comanda niente, forse qualcuno è più in alto di lui.
Rahman è come una specie di Ulisse che gira di isola in isola, conosciuto, rispettato, atteso.
svolge qualche ruolo in quelle comunità, trasporta persone morte o indesiderate, e osserva cose terribili,
quelle isole sembrano vivere in preda a volontà oscure, e la libertà non esiste.
qualcuno vuole vedere una critica sociale all'oscurantismo, e alla situazione politica del suo paese, che apre le porte delle galere a intellettuali come lui.
se me lo chiedono io sono uno di quelli.
il film è bellissimo e terribile, e Mohammad Rasoulof sta nell'Olimpo dei registi di serie A, se non guardate i suoi film non sapete cosa vi perdete - Ismaele
QUI il film completo, con sottotitoli in inglese
…The
White Meadows can be seen as an allegory to the current political regime of
Iran, nonetheless the message conveyed by it is universal. The characters of
the film could stand as the prototypes of a disutopian Platonic state. Rahman,
the main character, remains an illegible until the very end of the film. The
rules of his profession are simple. He wanders like a country-side doctor ,to
places where people are mourning, collecting their tears, unaffected by the
plights of his patients. During the film, one might try in vain to find the
driving elements of his behavior. The laymen of this society appear to be fearful
and extremely concerned with their own superstitions to have any critical
thought. A little renegade who represents the curious, passionate and
adventurous mind and an artist who sees the world differently from his fellows
are sacrificed in a setting that could be inspired by ancient Greek tragedy.
The director was actually arrested along with Panahi on the 1st of March 2010.
In my humble view, Rasoulof, in his 37,has directed a masterpiece of utmost intricacy and aesthetic value. His work is one of those destined to reside in our memory for a long time. Thus, I hope that the White Meadows will find their way to the movie theaters, our memories and ultimately film history . In the meanwhile, I hope that Rasoulof will continue to deliver us great films and to ameliorate his artistic language, despite the difficulties encountered in his homeland.
In my humble view, Rasoulof, in his 37,has directed a masterpiece of utmost intricacy and aesthetic value. His work is one of those destined to reside in our memory for a long time. Thus, I hope that the White Meadows will find their way to the movie theaters, our memories and ultimately film history . In the meanwhile, I hope that Rasoulof will continue to deliver us great films and to ameliorate his artistic language, despite the difficulties encountered in his homeland.
…Rowing between these and other sorrowful
gatherings is Rahmat (Hasan Pourshirazi), a grave, middle-aged traveler always
ready with a glass jar to gently scoop up the people’s tears. Is he a mythical
guide? Communal healer? Silent witness to a catalog of veiled yet unmistakable
forms of oppression? A fiercely compassionate call for freedom, the film
features downright tangible sensory dimensions: The sky’s infinite color and
the ocean’s saline taste are integral elements of the narrative, never more so
than in the sequence of the painter being painfully “treated” for his unorthodox
canvases—Rasoulof’s most personal portrait of the responsibilities and dangers
of a questioning artist.
…The film could be seen as a generally pessimistic view of
man’s continual surrender to simple superstitious beliefs. But there is a
special emphasis here on shared guilt. On all the islands, the people
feel they are guilty and seek remission of their sins via some superstitious
ritual, often at the expense of the weak and defenseless. Innocent women
are punished on the first and third islands, the innocent dwarf is sacrificed
on the second island, and free artistic expression is denied on the fourth
island. The people on these islands who carry out the atrocities are
basically innocent, too, since they sincerely believe in the superstitions that
drive them to cruel acts. There is clearly something wrong with the
system governing these local societies (as was the case in Iron Island,
too), but any references to the Iranian government system seem to be obscure,
at best. The idea of the jinn hiding in the well for three hundred years
may compare with some accounts of the Islamic Shiite belief that the
long-awaited Mahdi was hidden in a well. In addition, some viewers have
suggested that the washing of the old man’s feet at the end of the film
connotes extreme and pointless obeisance to an ayatollah who is unmindful of
the common needs…
...Skeptics might argue that
Rasoulof has merely mindlessly thrown together these provocative symbols in the
fashion of Alejandro Jodorowski. But there is enough subtlety of
expression here to suggest otherwise and that there is some method to the
madness. Overall, I would say that the visual presentation of The
White Meadows is haunting and even gripping at times. The viewer
is plunged into an austere and evolving nightmare. But the individual
episodes do not appear to represent any narrative progression – they could have
come in any order. And at the end of the film, the final images do not
provide a dramatic denouement, but are merely deflating. Nevertheless,
the film is memorable, and Rasoulof’s eery and disturbing portrayal of how
blind superstition can be ultimately cruel and destructive is a testament to
his own commitment to free expression.
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