Mohammad Rasoulof

[DarkImbecile]

Rasoulof’s recent posts on social media indicate that Iranian authorities are raiding the offices and homes of other Iranian filmmakers

[DarkImbecile]

Arrested again for urging security forces not to shoot protesters

[DarkImbecile]

And now Jafar Panahi has been arrested for inquiring at a prosecutor’s office about Rasoulof

[DarkImbecile]

And now Jafar Panahi has been arrested for inquiring at a prosecutor’s office about Rasoulof

Panahi’s punishment for this is to serve the remaining six years of what had been house arrest in prison

[knives]

There is No Evil is an expectedly great film sometimes for unexpected ways. The direct politics, movement through genre, and precise characterization define this as perhaps the best omnibus film ever, but what I found most exciting was how in concert he film was with Iranian cinema make a complex argument about its worth.

The first segment for example is a Kiraostami film punctuating by a startling final shot (if not for Crimson Gold’s similar gut punch I’d say this was anti-Kirastomi) asking Persian’s to not just sing metaphors of pain, but to directly address matters. As great as Iron Island is is it’s worth diluted on account of the mask of metaphor?

Metaphor isn’t the only concern Rasoulof has. Romance and action, really all breed of film, by being engaging become a tool for communicating great ideas while also potentially watering them down. Where is the necessary balance?

I can’t speak for many films better than this, but the third episode in particular does amazing work as a film, as an expression of theme, and as a showing of love.