A locked-off camera can convey many things — watchfulness, stealthiness, clinical remove or elegant restraint — but seldom is it as evocatively accusatory as in Alireza Khatami and Ali Asgari’s “Terrestrial Verses.” Here, its use over a series of stationary vignettes, bookended by dramatic images of urban collapse, becomes an increasingly inspired choice even as the themes start to repeat and the resonances with the ongoing Women Life Freedom movement in Iran become more apparent. Putting the viewer in the uncomfortable position of interviewer/interrogator in nine encounters between everyday Iranians and some manner of authority figure, this is punchy first-person filmmaking, from the point of view of the last person you want to be.
Some of the stories are mildly comedic in tone, especially early on. In the first of cinematographer Adib Sobhani’s crisp, boxed-in 4:3 compositions, we are introduced to a father (Bahram Ark) being chastised for not...
Some of the stories are mildly comedic in tone, especially early on. In the first of cinematographer Adib Sobhani’s crisp, boxed-in 4:3 compositions, we are introduced to a father (Bahram Ark) being chastised for not...
- 6/8/2023
- by Jessica Kiang
- Variety Film + TV
A daunting task faces the protagonists in Terrestrial Verses (Ayeh haye zamini): Each of them is trying to reason with a government bureaucrat or other self-important authority figure. They’re all residents of Tehran, and there’s something specific to Iran in the oppressive regulations and catch-22s that hinder them, but there’s universal resonance, too, in the escalating lunacy and bleak implications.
In 10 of the feature’s 11 subtly interlocking segments, a single character faces an offscreen interlocutor. The fixed camera holds each one in an unwavering embrace as they try to make sense of arbitrary rules and demands. Inspired by the intricate rhymes of ghazal, a classic form of Persian poetry, writer-directors Ali Asgari and Alireza Khatami have constructed a thoroughly modern work of bracing concision, elegance and blistering deadpan humor, one that pulses with sorrow and outrage over the absurdity of authoritarian dictates that aim to crush souls.
In 10 of the feature’s 11 subtly interlocking segments, a single character faces an offscreen interlocutor. The fixed camera holds each one in an unwavering embrace as they try to make sense of arbitrary rules and demands. Inspired by the intricate rhymes of ghazal, a classic form of Persian poetry, writer-directors Ali Asgari and Alireza Khatami have constructed a thoroughly modern work of bracing concision, elegance and blistering deadpan humor, one that pulses with sorrow and outrage over the absurdity of authoritarian dictates that aim to crush souls.
- 5/23/2023
- by Sheri Linden
- The Hollywood Reporter - Movie News
Nobody emerges unscathed — least of all the audience — from Vahid Jalilvand’s highly effective, deeply unpleasant “Beyond the Wall,” a morbidly violent allegory for the effects of state-sponsored trauma on the individual that places contemporary Iranian society somewhere on the map between the sixth and seventh circles of hell. A strange combination of intricate, almost sci-fi-inflected psychological thriller, splenetic social-breakdown broadside and two-hander (torture) chamber drama, it is an exercise in bravura filmmaking applied to a story so relentlessly grim you might wish it were a little less well-made, giving you an excuse to look away. In his 2017 film “No Date No Signature” (which won Best Director and Best Actor in Venice’s Horizons sidebar), Jalilvand pictured a stratified society teetering on the edge of legality and morality; here, however, it has toppled entirely into the abyss. The only way is down, and the filmmaker is bringing you with it.
- 9/8/2022
- by Jessica Kiang
- Variety Film + TV
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