JP: In a long shot.I would show them rough. In some countries, it’s a budget problem. In other countries, it’s political problems. This is where the humanitarian eye comes in. Is the final woman a kind of finished product?
But those who have seen the film, from the intelligentsia, liked it very much. ST: So the form of the circle is both a metaphor for life as well as your own style of filmmaking? If I had decided to give them some crime that they were guilty of, like something political or because of drugs, they would become specific persons. The film seems to have an angrier and bolder tone and subject matter than your previous works. We took about ten months. I wonder what happened to them. Why? JP: I don’t really know – but probably it was due to the fact that my first film was made with a very low budget, and I thought it would be easier to work with children. I was 15 or 16 years-old when I watched that film. Because I wanted the audience to think for themselves, I left it open to interpretation.
The acting must be on the same level. Does art present an element in life toward which life must aspire? JP: When they proposed Carpet to me, I refused. I don’t like political movies. How does it differ from the neo-realist style, for example? Jonathan Romney. We have women directors, making movies about women. At the bottom he's still a human. I’m not sure what exactly they went to prison for. JP: I have to tell you again that I’m not a political person. JP: There’s censorship in Iran and China – both closed countries and closed societies. ST: In The Circle, which character do you identify with most? Refusing to submit to a fingerprinting process (apparently required under U.S. law), the director was handcuffed and leg-chained after much protestations to US immigration officers over his bona fides, and finally led to a plane that took him back to Hong Kong. This was repeated 13 times until we got what we wanted. So it depends on how one looks at the character. ST: So now you have made a trilogy about women.
JP: We must contain all. And at the end of the film, when they're in the paddywagon ... throughout the film, every single woman wanted to have a smoke. Marriage here is depicted something like a funeral service … Many filmmakers confine themselves to a single style. On being drafted into the military, Panahi served in the Iran-Iraq War (1980-90), and during this period, made a documentary about the War which was eventually shown on TV. And then automatically, it became a movie about women. JP: In the first plan-séquence in The White Balloon, the camera starts from those people who’re playing the tambourines as they enter a shop. This is what is being said in The White Balloon, that is, the understanding of a child. But the question is: these two children, who tried so hard to achieve what they were after [in The Mirror and The White Balloon], as they grow up, will they keep the same kindness? This may or may not be real. As far as is known, this incident was not reported in any major US newspaper (1), even though The Circle was being shown in the United States at the time (another irony: for that film, Panahi was awarded the “Freedom of Expression Award” by the US National Board of Review of Motion Pictures. The camera then arrives at a woman who goes to a balloon seller. For the next one, the camera is no longer hand-held, but is mounted on a tracking device [a dolly or a truck]. Now our girl has become an idealistic person and thinks that she can reach for what she wants, so we open up a wide angle and we see the world through her eyes, wider, we carry the camera with the hand and we are moving just like her. And, if they don’t act correctly, things won’t come out as they should.
It chronicles the stories of seven women, not all of whom are connected to each other, but whose fates are invariably interrelated through a circle of repression. In this case, some people would realize it very quickly and others wouldn't. This is one of the difficulties of doing long sequences like this. ‘Survivor spirit’: Jafar Panahi at the wheel in Taxi Tehran. DW: This view, which is very rare, is one of the major contributions of the Iranian cinema. Or the last person who has come to the end of her life and has accepted the conditions of her life. On his way to the Buenos Aires International Festival of Independent Cinema on 15 April, 2001, after having attended the Hong Kong International Film Festival, Panahi was arrested in JFK Airport, New York City, for not possessing a transit visa. As in The Circle, The White Balloon also uses the motif of the circle. I haven’t had time to think about the next project. We wanted very much to show this film. Or on the other side of the coin, an artist sacrifices himself in order to show what the truth is. It doesn't mean that a criminal shouldn't be punished just because social difficulties have driven him to it. If there’s any movement, it’s in the background. And when she’s sitting in front of the painting, and talking about the countryside that she sees in the painting, she’s actually talking about Azerbaijan. I prefer that even in a closed circle, they still try to break out of that circle. But I know that politically, with the film authorities, with any kind of film that has some political background in it, they would disagree with.
But when it’s open to interpretation, then it’s more difficult. Armed with a script by his mentor, Kiarostami, Panahi made his debut as a director with The White Balloon (1995), and subsequently went on to make The Mirror (1997) and his most recent film, The Circle (2000). Was this your intention? It has the elements. ST: When you have this circle, there’s a lot of repetition. In the end, they gave me permission to make the movie. It is a brilliant idea that all of these women are trapped.
Art gives hope. On being invited to the Festival, the director encountered problems in securing a visa from the Chinese embassy in Tehran to enter Hong Kong (a fact that he made known to his audience whilst introducing The Circle). Some of us were surprised that he actually arrived in Montreal to fulfil his role as WFF jury head, as he had been arrested during the aftermath of “green” demonstrations against the alleged fixing of the presidential elections by the Iranian government. Jafar Panahi: The truth is that in the previous films, I still tried to show the crucial difficulties, the problems of children. Our treatment was very simple, and, we used documentary style, shooting some of the film while the football game was taking place, offscreen. This is not specific to Iran. by Peter Rist The radius might be marginally larger for men. He was principal writer for, and edited, Guide to the Cinema(s) of Canada (2001) and (co-edited with Timothy Barnard) South American Cinema: A Critical Filmography, 1915-1994 (1998). But I intertwine the tones. But he goes back again and becomes frightening.
In the first instance, you are afraid of the police. And, I’m interested as well in the concept of “real time” although we can come back to that. JP: This was such a difficult film for me. He is the author of Hong Kong Cinema: The Extra Dimensions (London: British Film Institute, 1997) and is currently writing Johnnie Gets His Gun: The Action Films of Johnnie To, for the Hong Kong University Press.
Regardless of their geographic location, they live within a circle.
But, whereas he or she was copying me, there was always space for he or she to put him- or herself inside the role. ST: Having travelled all over the world now, do you think that being a filmmaker in Iran is much more difficult than in other countries? JP: I am confident that I can get actors to play what I want. JP: In fact, my third film, The Circle is taken somehow from de Sica’s Bicycle Thieves. All three films, The White Balloon, The Mirror and The Circle, are like full cycles – or circles – where the characters are facing up to problems, and they are trying to get out of their boundaries. And for this reason, that is what the problem is. And so Nargess is very idealistic and not worldly. A screenwriter (Kambozia Partovi, also the co-director) has a dog smuggled into his seaside villa by friends.
On my film, the sound recording was direct, but on this other film, she was told that they would add the sound later and she didn’t like that. I don't really want to think about the two to three years of difficulty that I endured to make this film.
So it is a surprise to me that you were able to make that film in Iran. Panahi is, however, ambivalent about the political content of The Circle. We talk about small events or small things, but it’s very deep and it’s very wide – things that are happening in life. It is important to me to talk about the plight of humanity at that time. But, out of nowhere, the opportunity came to make Offside. In most of your films you focus on a girls or women. JP: In my view, everyone in the world lives within a circle, either due to economic, political, cultural, or family problems or traditions. ST: That’s very remarkable. Photograph: New Wave Films.
The film is even more impressive to me, now, and I will use what you have said the next time I teach the film. iranian cinema jafar pahani world film festival, 50th Thessaloniki International Film Festival, Call for Papers: Music and the Moving Image XVII, In Search of Home: Cultural Traditions and Richard Deming’s book. JP: Not too many people have seen the film in Iran. So in a very short period of time, we were able to cover a long period of time in one woman’s life, through depicting it in different stages of four women’s lives. In this way, things emerge perfectly well both from an image point of view and a film point of view.
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