Direction: Jafar Panahi
Even facing a 20-year filmmaking ban imposed by the Iranian government, director Jafar Panahi continues to employ up-to-the-minute techniques as a mean to tell interesting stories, where the pivotal simplicity never discards any emotional peak or tension. He really knows how to blur the line between fiction and reality, and 3 Faces, the fourth film to be released under his filmmaking interdiction (the others were This Is Not a Film, Closed Curtain, and Taxi), is another step forward.
Panahi plays himself, as well as the popular actress Behnaz Jafari (Blackboards). The latter receives a startling video message from Marzieh Rezaei, a young actress wannabe from the rural Northwestern village of Saran, whose conservative family strictly opposes her going to Tehran to study acting. Impulsively, Jafari asks the director to drive her to that village in order to assure that nothing happened to the desperate girl. According to her loved ones, she had vanished three days before without a trace.
After discussing if the video was posteriorly edited or not, the pair experiences a reality that has nothing to do with their lives. Interesting happenings keep us alert - an elder woman lies down in the grave she just dug for herself; in a first phase, the villagers think the visitors are there to solve their gas and electricity problems; they learn that the village has more parables than inhabitants and have too many gardens but no doctors. In fact, these people are stuck in traditions and it's no wonder that Marzieh’s older brother considers her aspirations dishonorable.
During the investigative examination, there are some funny moments. I’m remembering when Panahi is forced to honk while driving to be given passage in a narrow road, or when he gets a phone call from his mother, who demands some attention and asks him about the rumors of a new film.
Ms. Jafari doesn’t know how to react. She feels scared for the girl, but at the same time dragged into a manipulation. There’s a moment she even suspects Panahi, who told her that his next film would be about a suicide case. While she is emotional, he is sober and rational, and that contrast works perfectly.
Panahi refuses to abandon his art; and if his film meditates about cultural tradition, it also works as a metaphor by targeting those who disregard artistic life, seeing it as a minor craft. He gets everything under control with his camera, which, observing quietly, inflicts a decent low-key treatment in a peculiar road movie marked by slightly intriguing moments. Who told you this wasn't the truth?