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True artists cannot be denied the opportunity to express themselves, as legendary Iranian director Jafar Panahi has demonstrated throughout the first half of his 20-year ban on filmmaking in Iran. This is one of the reasons why even the mere prospect of seeing a new Panahi film elicits an unmistakable sense of pleasure and satisfaction. Despite that sentence, he continues to laugh it off and create one fascinating cinematic oeuvre after another, manipulating and evolving the art form that he has learned to master with startling finesse.
It all began with the claustrophobic yet thematically expansive “This Is Not A Film” in 2011, and it continued with “Closed Curtain” (2013) and the comparatively free-feeling “Taxi” (2015). (2015). Now, with “3 Faces,” his fourth feature film written and produced under the auspices of the legal profession, he has broken free once more. While Panahi travels through the countryside and observes more than just his immediate surroundings this time, his most recent work still fits in with the rest of the previously mentioned pieces of the puzzle, even if it isn’t the best of them all. Using the film “3 Faces,” writer/director Panahi solidifies his artistic control over an unjust situation by inventing new ways to work around it. He also proves himself to be an effortless blender of documentary and fiction through mystifying methods, as he has done for the past several years.
It all begins with a film within a film, shot by the young Marziyeh Rezaei on her cell phone, which serves as the prologue to “3 Faces,” in which everyone plays a fictitious version of themselves. Marziyeh’s defeated face begs for mercy inside the phone screen, and her words sound like a suicidal farewell to the world. She talks about her broken dreams of becoming an actress while walking and talking frantically; about how she was unable to study at the prestigious Tehran drama school that she had her heart set on because she had been married off by her disapproving family. Marziyeh finally arrives at her destination in a cave, where she addresses her close friend first, and then the celebrated Iranian actress Behnaz Jafari (whom she had apparently attempted to contact previously without success), before tying a noose around her neck and, as far as we can tell, taking her own life.
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The film “3 Faces” unfolds in a whimsical manner, despite the fact that it begins with an apparent suicide. The film’s pace is calm and serene. Because she is disappointed that she was unable to assist this poor, perfect stranger (she claims she has not received any of the young woman’s cry-for-help messages on Instagram), Behnaz leaves behind the responsibilities of her professional obligations in an ongoing production and teams up with her friend Panahi to embark on a road trip to Marziyeh’s hometown in order to solve the mystery of the suicide note. It is similar to Agnès Varda and Jean-Luc Godard’s “Faces Places,” in that it weaves together a series of pastoral tableaux while paying homage to various rural Abbas Kiarostami films (such as “Taste of Cherry” and “The Wind Will Carry Us”) that are concerned with existential issues. A wealth of wry-humored idiosyncrasies among town folk who hold on to their traditions for dear life is discovered by the pair as they travel through narrow and winding roads between Turkish-Azeri speaking villages on their journey. In this film, a shepherd boasts about his sick cow’s hard-earned reputation as a stud, an elderly woman decides to test out her newly dug grave (which sounds grim, but comes across as strangely amusing), and a group of villagers mistake the couple for repairmen, only to dismiss them as “entertainers” with pointed disappointment later on.
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Panahi’s subtle critique of society’s views on art and the long-standing perspective of women who work in the entertainment industry begins with this visible annoyance and continues throughout the film. The film is a political and gently feminist statement on Marziyeh and the women who came before her, and the title refers to three generations of female artists in that regard. While Panahi works his way towards an eventual (and pleasant enough) resolution for Marziyeh’s mystery, he also makes a political and gently feminist statement on Marziyeh and the women who came before her. We also learn a great deal about Shahrzad, an iconic pre-revolutionary Iranian actress, poet, and dancer (who famously starred in Massoud Kimiai’s 1969 film “Qeysar”), who, though she does not appear in the film, is frequently cited by locals as an example of the bleak fate that eventually awaits women of her kind. In addition to Marziyeh and Behnaz, we also learn a great deal about When Marziyeh’s problems are viewed in this light, they gradually take on a more complex dimension.
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When Amin Jafari uses a lens that captures dusty, sun-dappled hues as well as endless horizons ahead of winding country roads, the film “3 Faces” comes to a surprising, yet open-ended conclusion in its final shot. Panahi can’t help but exude optimism wherever he goes; he allows it to rise above everything, despite the circumstances.
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