{"id":16,"date":"2023-07-08T18:37:39","date_gmt":"2023-07-08T18:37:39","guid":{"rendered":"https:\/\/memora8ilia.com\/index.php\/2023\/07\/08\/jafar-panahis-ingenious-tragic-no-bears-is-a\/"},"modified":"2023-07-08T18:37:39","modified_gmt":"2023-07-08T18:37:39","slug":"jafar-panahis-ingenious-tragic-no-bears-is-a","status":"publish","type":"post","link":"https:\/\/memora8ilia.com\/index.php\/2023\/07\/08\/jafar-panahis-ingenious-tragic-no-bears-is-a\/","title":{"rendered":""},"content":{"rendered":"<div class=\"npf_row\">\n<figure class=\"tmblr-full\" data-orig-height=\"1080\" data-orig-width=\"768\"><img decoding=\"async\" src=\"https:\/\/64.media.tumblr.com\/ea4a4c9777948f9b667caa079421cc50\/855ae9edc32c8947-78\/s640x960\/b6603f42bbb4303280b39b51221715ad11a036eb.jpg\" data-orig-height=\"1080\" data-orig-width=\"768\" \/><\/figure>\n<\/div>\n<p><\/p>\n<p><a href=\"https:\/\/letterboxd.com\/film\/no-bears\/\" target=\"_blank\" rel=\"noopener\"><b><i>No Bears<\/i><\/b> (Jafar Panahi, 2022)<\/a><\/p>\n<p><\/p>\n<p>\u275d In depicting the absurd constraints that he himself faces, Panahi exposes the absurdities of daily existence in Iran and the pathologies that afflict the population as a result of its misrule. He also displays, with a scathing severity, the guilt and the complicity that he bears in making movies and enlisting the participation\u2014witting or unwitting, intended or incidental\u2014of others. He carries, however unjustly, the mark of dissidence and (political) crime, and this turns out to be as contagious as it is dangerous. \u275d <a href=\"https:\/\/www.newyorker.com\/culture\/the-front-row\/jafar-panahis-ingenious-tragic-no-bears-is-a-formalist-triumph\" target=\"_blank\" rel=\"noopener\">*<\/a><\/p>\n<p><\/p>\n<div class=\"npf_row\">\n<figure class=\"tmblr-full\" data-orig-height=\"290\" data-orig-width=\"540\"><img decoding=\"async\" src=\"https:\/\/64.media.tumblr.com\/cd181a23f5563efd613935f0da6c00dd\/855ae9edc32c8947-bd\/s640x960\/f98eff397b9fa0852e42ae97945421f06b59182f.gif\" data-orig-height=\"290\" data-orig-width=\"540\" \/><\/figure>\n<\/div>\n<p><\/p>\n<p>\u275d Many of the film\u2019s most dramatic sequences are night scenes filmed with daringly little light, as in remote settings illuminated solely by the interior light of Jafar\u2019s car, the screen on his cell phone, or the full moon, or on desolate dirt roads lit only by headlights. Much is done in secret: important things are hard to see and the effort of discernment in high-stakes situations is crucial to the drama. Panahi relies on long takes without longueurs, many executed using pan shots that unite multiple fields of action and a varied array of characters in a single sweep, others featuring fixed-frame compositions in which the action is often multiplied by the presence of interested observers contemplating the dramatic events and extending them into an extra spatial and psychological dimension. \u275e <a href=\"https:\/\/www.newyorker.com\/culture\/the-front-row\/jafar-panahis-ingenious-tragic-no-bears-is-a-formalist-triumph\" target=\"_blank\" rel=\"noopener\">*<\/a><\/p>\n<p><\/p>\n<div class=\"npf_row\">\n<figure class=\"tmblr-full\" data-orig-height=\"290\" data-orig-width=\"540\"><img decoding=\"async\" src=\"https:\/\/64.media.tumblr.com\/037401b2e7ea1f5122166196f8b70acf\/855ae9edc32c8947-ce\/s640x960\/1671c2c63c5110ad502881c873438556e103da98.gif\" data-orig-height=\"290\" data-orig-width=\"540\" \/><\/figure>\n<\/div>\n<p><\/p>\n<p>\u275d Jafar is the Heisenbergian observer whose presence, with or without cameras, perturbs his surroundings and adds to the troubles of those around him. As he makes his way through the village, he unleashes a Pigpen-like whirlwind of chaos, because what he\u2019s really observing, more than any individuals, is the invisible net of unbearable surveillance in which they\u2019re caught\u2014and which tightens with fear, in menacing cruelty, when it\u2019s in danger of being exposed. \u275e<\/p>\n<p><\/p>\n<p class=\"npf_link\" data-npf='{\"type\":\"link\",\"url\":\"https:\/\/www.newyorker.com\/culture\/the-front-row\/jafar-panahis-ingenious-tragic-no-bears-is-a-formalist-triumph\",\"display_url\":\"https:\/\/www.newyorker.com\/culture\/the-front-row\/jafar-panahis-ingenious-tragic-no-bears-is-a-formalist-triumph\",\"title\":\"Jafar Panahi\u2019s Ingenious, Tragic \u201cNo Bears\u201d Is a Formalist Triumph\",\"description\":\"In his latest film, the now jailed director captures the daily absurdities of Iranian lives ruled by surveillance and superstition.\",\"site_name\":\"The New Yorker\",\"poster\":[{\"media_key\":\"8633ee9727fa5c07138cba90e4ae27f7:855ae9edc32c8947-0c\",\"type\":\"image\/jpeg\",\"width\":1280,\"height\":720}]}'><a href=\"https:\/\/www.newyorker.com\/culture\/the-front-row\/jafar-panahis-ingenious-tragic-no-bears-is-a-formalist-triumph\" target=\"_blank\" rel=\"noopener\">Jafar Panahi\u2019s Ingenious, Tragic \u201cNo Bears\u201d Is a Formalist Triumph<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>No Bears (Jafar Panahi, 2022) \u275d In depicting the absurd constraints that he himself faces, Panahi exposes the absurdities of daily existence in Iran and the pathologies that afflict the population as a result of its misrule. He also displays, with a scathing severity, the guilt and the complicity that he bears in making movies [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ghostkit_customizer_options":"","ghostkit_custom_css":"","ghostkit_custom_js_head":"","ghostkit_custom_js_foot":"","ghostkit_typography":"","_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[1],"tags":[69,68,67,70,65,66,62,63,64],"class_list":{"0":"post-16","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-blog","7":"tag-cinema","8":"tag-film","9":"tag-iran","10":"tag-iranian-cinema","11":"tag-iranian-film","12":"tag-iranian-underground","13":"tag-jafar-panahi","14":"tag-no-bears","15":"tag-richard-brody","16":"entry"},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>- MEMORA8ILIA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/memora8ilia.com\/index.php\/2023\/07\/08\/jafar-panahis-ingenious-tragic-no-bears-is-a\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"- MEMORA8ILIA\" \/>\n<meta property=\"og:description\" content=\"No Bears (Jafar Panahi, 2022) \u275d In depicting the absurd constraints that he himself faces, Panahi exposes the absurdities of daily existence in Iran and the pathologies that afflict the population as a result of its misrule. 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