by Eurocheese
Director/Writer Jafar Panahi is currently sitting in an Iranian prison cell. By way of introduction at the AFI Fest, currently taking place in Los Angeles, our audience was reminded of this. That's not all. We were also informed that he has told his wife that this prison stay has been his most difficult – a shocking statement considering his arrest in 2010 led to him to a hunger strike. This set the backdrop perfectly, as the film portrays Panahi’s take on the current state of affairs in his country.
Within the first few minutes, the fourth wall is broken as we learn Panahi (playing himself) is using a stand-in director to film his new feature, presumably because he is not allowed to direct himself. Meanwhile, he is staying close to his cast and crew in a small town close to Iran's border for a few days...
This begs the question: Is he seeking escape? As someone who views the world behind his camera lens, he begins to take a few photos around town. Even though his options are limited, he has found a way to explore the things he loves as he considers what he may want to do next.
There are early warnings that drawing attention isn’t a good thing in this small town, and soon there are questions about a picture that has been taken. The film balances what starts as a kind of comedy of errors with a building concern that eventually ties the storylines together. Innuendo and assumptions quickly turn into assumed facts, and miscommunications become accusations. With a deft hand, the storyline guides the audience through questions without directly spelling out their themes, highlighting the importance of freedom and truth.
The circular nature of spiraling questions being asked is clearly dangerous. In reference to the film’s title, one character references bears as a threat when walking around at night to pull Panahi in for a conversation. The same character later assures him he is fine to walk alone because no bears are around, and he shouldn’t believe such stories! So – which is it? Does the truth still matter when we are being manipulated? Do perceived threats become real as we speak them into existence? The film points out how easily any situation can be reframed. When the just system has no interest in being just, everything is (potentially) at risk.
One thread that continues to reveal itself is characters claiming they are good people trying to do the right thing. This often happens as they are excusing themselves for an action they are about to take. The detachment this allows is upsetting. As these justifications happen, No Bears heads towards its climax.
The final images are simple and powerful, bold statements underlining Panahi’s willingness to have his voice heard, no matter the cost. The film draws you in close and though it might not be a movie viewers eagerly revisit, that first encounter leaves you with a lot to process. This is a labor of love from a man who knows this could be the last time the world hears his voice. We only hope that isn’t the case. A-
No Bears is currently on the festival circuit and will eventually be released in the US by Janus Films. It opens in the UK on November 11th from Picturehouse.