Tehran Taboo film review

Sexuality, drug dependency, Music, Poverty and religious piety. Welcome to TEHRAN TABOO a film about modern Iran. Correcting much of the misunderstanding placed on the country and its people, we meet four different families. Each having a position in life uncalled for by them. One is a mother, forced into prostitution. Another is a musician, he needs to find a doctor, his one night stand has to reclaim her virginity before she marries. Another is a pregnant woman wanting work, even though her husband is not in favour. Finally a judge in the Islamic court. He is a bundle of hypocrisy.

TEHRAN TABOO has hit a seam in Iranian art cinema. A film that reflects on modern urban Iran. That is to say Art films seen in the west, not the cinema that is popular in Iran. It feels much like the works of Abbas Kiarostami, a major name and a wonderfully astute and creative film maker. Why? Well in its subtle documenting of humanity and the everyday events that happen in naturalism. Though there are strange dreamlike pieces. These add something to the narrative.  A coke can floats in a gutter like a lost thought. A dissolve shows day for night and night for day. Though a neon sign still calls. To say that a film corrects the consensus of a country and its people would be naive. Many films have done this before.

We know of the opinion Iran has division in gender equality, religious persecution and poverty. The Makhmalbaf family for one, have spent time looking at this. So has Kiarostami. What is different here? Ali Soozandeh film has nothing much to add. Forget the Rotoscoping, maybe it might in its dreamlike diversions. Maybe. It is rare in Iranian art cinema to live in the life of those on the fringe. However, we see those who lead uncommon lives before and told better. The only difference here is that modernity has hit. Drugs are rife. Sexual desire is normal. The state has not caught up or is blind to it…

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