'Taxi Tehran' film responses

1. How many points of view can you see in the film? try to explain them.

In terms of physical points of view, there are multiple. The front dash cam, one in the back seat, phone camera footage and Hana’s camera footage. This sets up an interesting way of viewing the film as its seemingly limited but a lot happens in the space of this taxi. The front camera is controlled by Panahi and he moves it depending on what he wants to film. Starting out it is facing the road, looking like a dash cam for insurance, but is then moved to face the front passenger. What’s interesting with how these points of view function is to give the film a documentary feel, even though the narrative is scripted. It feels rough and realistic, which helps reinforce the films narrative.

In terms of the people’s points of view with their stories, there are again, multiple. Each offer an insight into people’s Iives in Tehran, with all the highs and lows that follow. One particularly moving scene, is when a young woman and her injured husband are travelling in the back seat. I felt all the anxiety and fear of that interaction, and I learned about aspects of Iranian law. The man is desperate to record his will so his wife can inherit their home and belongings. He’s adamant his brothers leave her alone as alone. This is filmed on Panahi’s phone so that it can be sent to the wife, and she follows up with him to make sure it’s the correct number. In contrast, there’s older women who want to return their goldfish to Ali’s Spring so they don’t die. As well as Omin, the DVD bootlegger who supplies banned films and to shows to those who want to watch them. He’s an important part of an underground industry that is defying the government’s censorship.

I think one of the most interesting is in the latter half of the film,

when Hana and his old neighbour enter the picture. Hana is a young school girl, who clearly wants to become a filmmaker like her famous uncle. She wants to make a film that is ‘distributable’ but this means it has to follow various moral codes set out. I like her point of view because children often ask questions about why things are the way they are. She parrots her teacher, but in practice she clearly wants to make films that challenge the rules, like her uncle.

Panahi’s neighbour is an interesting point of view as well. You slowly learn what is happening as they talk. He was beat up by someone he knew, and has a video of it from CCTV. He asks Panahi if he can use the footage, but he goes on to say he sympathised with his attackers because he saw what the money did for them that they stole. He doesn’t want to condemn them to execution, so he accepts his suffering. He talks about how thieves look like anyone else, and that he wants to move on from it.

2. Can you explain the socio-cultural context of the film? what do you think the film wants to achieve?

The socio-cultural context is important to the film, as it references to Iranian culture a lot. Panahi has been banned from making films, so has found ways to circumvent this restriction to still make films that criticise the Iranian government. In this one, many of the characters are providing some sort of context about life in Tehran and what people encounter day to day. The first man is very steadfast in his beliefs about Sharia law, despite claiming he is a mugger. The teacher questions why he is so quick to judge others. This first interaction sets up a lot of conflict that implies is happening on a larger scale. Omid with his bootlegging is another facet of this socio-cultural climate, as without censorship he would not be doing what he does. A true hero for cultural enrichment.

I think this film wants to give audiences a snapshot into life in Tehran for those who aren’t aware of what’s it’s like. For non-Iranian audiences it humanises a lot of the global politics that we are aware of, and let’s you connect with the people who’s everyday life is not discussed.

3. What do you think is the key concept of the film?

I think truth and reality are key concepts in this film. It’s seemingly mundane, but as the film progresses you learn about people’s lives and the truth of living in a country like Iran. As it’s made to seem like a documentary, the audience views it in that way which I think elevates the idea of truth. It’s also filmed in a way meant to invoke social realism, again a technique meant to enhance truth to a story.

4. Can you discuss some of the film techniques in relation to the film concept and the socio-cultural context?

Guerilla filmmaking style used with small cameras, give the film a realistic feeling and makes sense with Panahi having to make films under cover and by himself to protect others from harm. The phone camera footage and his nieces camera work are used as well which add these feelings of reality to the film, making it feel realistic and raw. Again these help to reinforce the concept of truth in the film, and also makes you more aware of the fact that this is a film made despite the fact he’s been banned from directing.

5. Can you discuss the narrative and say, for example, what is different about it?

It’s episodic and each part is it’s own self contained story in the way that each part doesn’t really connect to the other. The only one who experiences everything is Panahi and the viewer, which makes us relate to him the most. It’s different because it doesn’t follow traditional ways of storytelling or even documentaries, there’s no obvious through narrative. The fact that it is so disjointed and mundane makes it all the more compelling as you are left wanting to find out more about each persons story and life, but are only offered a short snapshot. This echoes a lot of the daily interactions we encounter in our lives.