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That scene alone lasts near an eternity, scattered and disjointed with the camera all over the field, the image too dark and hazy. Then, at a pace applicable to those in the afterlife, it jumps back to the real start for what’s expressed as a look at Iran’s present injustice of the separation between classes. (The thief is a pizza deliveryman, and during one of his drop-offs, he proves to be far too patient and dedicated in waiting to enter a building where a police operation is going, eventually, after all of that standing around, to give away the pizza to the cops.) Each subsequent scene drags on and on, lingering through repetitions and little to no movement forward. (There’s a phone conversation that we overhear one side of, which consists of the same arguments shouted over and over.) Whether my attention was lost completely on the demerits of this movie, or perhaps because this was the final movie on the final day (for me) and my exhaustion bled through, I don’t know. I do know I don’t often find Kiarostami boring (and I thought something, though not a lot, of Jafar Panahi’s The Circle), so I’m willing to brave this again when it press screens locally, where I will have my definitive word. With Hossain Emadeddin and Kamyar Sheisi.

[Not to be bothered with.]

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originally posted: 02/06/04 17:07:32
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