Controversial
Iranian film maker, Mohsen Makhmalbaf's films not only visually charter the
Iranian experience, they are surreal explorations of sociopolitical and
religious journeys that define the relationship between a people and their
country. A youthful revolutionary, Makhmalbaf was imprisoned for five
years for stabbing a police officer and was subsequently released during the Iranian
revolution. Now an expat who resides in France, Makhmalbaf has evolved as
a filmmaker, abandoning traditional forms of storytelling for potent symbolism
and vibrant colors. His films have been honored throughout the globe at
various festivals and three of his most unique offerings have been collected by
Arrow Video and released in a singular package as The Poetic Trilogy.
Gabbeh (1996)
The
first film in the set, Gabbeh is
named after an heirloom rug that an elderly couple are washing in a
river. A beautiful young woman who shares the same name emerges and
recounts a heartbreaking tale about isolation, discrimination, and possible
redemption. Banned in Iran for being "subversive" this is a beautifully
shot, heart breaking exploration women within Iran's social constructs.
The Silence (1998)
Perhaps
the most surreal of the trilogy, The
Silence deals with a blind child who is the primary source of income for
his family. His condition has gifted him a remarkable talent with
instruments as well a playful obsession with music. Steeped with heavy
Sufi related symbolism, The Silence
was also banned in Iran for two years. It is a continuation of his free
form style that builds into a remarkable climax. Balance as a concept is
not only analyzed, but revered. Of the three films, this is the strongest
entry, blending symbolic presentation with powerful, everyday colors and vivid
snapshots of street life in Iran.
The Gardener (2012)
The
first film to be made by an Iranian in Israel in decades, the final film in the
set is The Gardener, a documentary in
which Makhmalbaf and his son seek to learn about various religions. The
bulk of the film deals with Makhmalbaf himself, as he seeks to understand the
religion of his people. This is showcased through various shots of Baha'i
Gardens, a holy site in Iran. Conversely, his sons travels to other
locations in Jerusalem. One of the most striking aspects of the
film is in its restrained presentation. While the devotion of its various
subjects cannot be denied, zealotry has no place within Makhmalbaf's faithful
sonnet. Love for another and love for God is of import, rather than
religion's place within society. The film has been banned in Iran since
its debut in 2012.
While
each of these films is challenging, they each present a daring, fresh
perspective on Iranian culture. While some may be repelled by the non-linear
narrative, there is so much love, both for the people of Iran and for cinema
itself, that trivialities such as plot can be ignored in favor of three unique
experiences that wash over the viewer like a warm bath. These are
remarkable films made in a whirlwind of violent political and religious
upheaval. Viewing them not only reinforces the truth that light
will shine no matter how dark the night is, it is also a gentle reminder that
beauty is everywhere, even the most unexpected places.
-Kyle Jonathan