Obviously many people did not understand the film. These people saw JAFAR PANAHI taking the risk of being under house arrest by the Iranian government. They praised him for his bravery, bravery, and sympathy. ..... Yunyun, but did not see that the reason why Panahi chose to question the credibility of the imitation record in "Taking a Life" (تاکسی), which was made by the imitation record, was to deny himself who is too easy for bloggers to sympathize in reality. This self-deprecating self-consciousness is more precious than bones, and it is the only highlight of this babbling movie.
The whole film imitates the narrative of the reticent driver and the ever-changing passengers filmed by director Abbas, until the driver's concubine gets in the car. The girl who wanted to make a movie opened the window of the car while she was in the middle of the time and pointed the camera at a pickpocket who was stealing in the alley. She told him not to steal, otherwise it would not look like a movie. "The teacher said, there will be no criminals in the movie." She said, of course the pickpocket did not listen to the girl.
The girl’s teacher asks the girl, or the director, to make a moral review of the choice of filming. The girl thinks that the film can only be fictional, so she must choose to fake it to make the film. In fact, it is not. At that moment, the girl can choose to actually shoot a documentary against street crime, or persuade the pickpocket to make a drama that persuades others to change. No audience can make the film true or not. , Because no one knows whether the girl has negotiated with the pickpocket, not to mention the incomparable finishing skills of editing and scheduling. Movies have no reality, only seemingly realistic realism. We can only listen to the director’s words to assess the truth, even in documentaries.
This argument can also refer back to "Ticheng Life".
As everyone knows, this film was really going to be made into a documentary, and Panahi really wanted to be a driver, but the actor and scheduling were too difficult, the story was preserved, and the filming was finished with a professional actor reading the script. The driver is real, the street scene is real, and the various abuses against the Iranian government in the dialogue are also real, but is this a real or realistic movie? I'm afraid not. Just as a girl can instruct a pickpocket to "act" in a movie she wants on a car window, everything about Iran inside and outside the driver’s car is the realism he chose to present to the audience, and we don’t know if this taciturn driver belongs to him. Teacher, and his teacher taught him the standard of self-censorship. That being the case, when "A Life in Taxi" chooses to present it as an imitation record instead of a record, even if its style is more realistic and the director's critical intent is clear, we should not believe in reality with the same mentality of believing that this only exists in What you saw and heard in the car windows and the screen frame was uncertain and ambiguous.
"I'm honest, but I still only make movies. Don't believe in movies too much!" This is what Panahi intended.
Of course, this kind of self-deprecating and mocking people may also be a means of refusing to welcome them, just as Panahi does not want to say whether he is playing Panahi himself or a fictional driver in the film, and continues to confuse the cognition inside and outside the film. He knew well that the big reward of the Berlin Golden Bear was worthy of his attitude.
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