Written by: Jafar Panahi
Starring: Jafar Panahi, Naser Hashemi, Vahid Mobsari, Bakhtiar Panjei, Mina Kavani
Rating: [4/5]
Reality and fiction have a way to meld into each other in the world of filmmaking, as so much of what we see on screen draws inspiration from moments experienced and lived. However, the manner in which Jafar Panahi brings them together in No Bears receives commendation, as his bravery and storytelling prowess are on another level. Here he crafts a film that gets better with each passing moment until it reaches its harrowing conclusion.
Barred from leaving the country or making any films, Jafar Panahi decides to craft a movie remotely about a man and woman trying to flee Iran by obtaining a passport through illicit means. While in a quiet village, he photographs children, and one of the photos he captures begins to cause trouble amongst the villagers.
It feels as if every Panahi film I review has to mention his incredible bravery, but it’s hard not to do so when seeing the adverse conditions he faces when crafting his films. He does not merely have to deal with issues all directors do, but he must do so while also evading the iron first of his very own government. A tall task for anyone to overcome, but he not only manages the situation well but also delivers incredible films in the process with No Bears as no exception.
Working as a drama that feels like a documentary at times, we follow two threads throughout this film where Panahi contends with filming a project without his actual presence there and also the drama at the village where he’s staying. Each of these threads has a reality to them, but one has a fictional component, as the film he’s putting together is literally a work of fiction. Yes, based on a real struggle many face in Iran, but yet, it is a work of fiction. Each of them carries their own intrigue, but as the film progresses, Panahi puts together this magic trick in the way we watch these two stories play out and the way they weld to each other in a devastating manner. It allows for a larger look at this film as a whole, working on a plane that deserves nothing but praise.
Of the two threads, the one with the most urgency lies in the village, where a seemingly innocent act by the director, who portrays a fictionalized version of himself, snaps a picture of children. A harmless act, but in the picture he captures a young woman and man together who should not be, as she was promised to someone else from her birth. This causes quite the stir within the village, and it gets to the point where Panahi must meet before a council of elders to defend himself and deny the allegations put forward to him. This certainly puts him at risk given he’s potentially impuning on the customs of these villagers, but it also provides quite the insight into the lives of these individuals. To Panahi and the general audience alike, the customs he needs to navigate between are concerning, especially when the young lovers make it clear to him their intentions and how that image could be very damaging to many. Truly a fascinating plotline that continually builds its tension as we try to decipher exactly how this situation will end and who will be harmed in the process.
The filming happening in Turkey carries its own value as Panahi tries to tell a story that he faced himself in finding the best way out of the country, even if obtaining an illegal passport in the process. This gets told through two lovers trying to obtain these passports and exit together, where complications in ascertaining them pose problems in their original plans. If you’re beginning to see a knot beginning to tie together these two threads, then perhaps I’m being too lackadaisical about how much I divulge about the plot. However, their connection makes the film and the acting job by those involved, along with Panahi, who plays himself, add to the drama at hand in a meaningful manner.
As the final moments of the film arrive and the credits roll, No Bears fully exhibits Panahi’s master plan in telling this story. A tragedy and amalgamation of hardship for all individuals of different walks of life in Iran. You can see why the Iranian government has their qualms with him, given how well he effectively tells stories, communicates a message, and provides a devastating blow. When he sets his aim towards their oppression, it must terrify how well he can cut through their nonsense. This film excels as a narrative with everything it seeks to communicate, as it all culminates in a story within a story, further demonstrating the impressiveness of this director and how he must continue to be allowed to create this meaningful art. The world is better for it.
