Every new movie by Jafar Panahi is a miniature coup, an act of fearless political defiance.
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There's something wonderful in how these scenes, so breezy and funny, reveal so much.
This is a delightful surprise, and though it is even more minimalistic than his last two illegal exports, This Is Not A film and Closed Curtains, it is also more mature, and better calibrated and - at the risk of annoying art house patrons who often hate this term - more entertaining than the other two.
Amazingly, Panahi turns the utterly simple, economical format of a camera inside a car into something relevant to his own artistic state and full of eye-opening insights into Iranian society.
At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.
Often extremely funny, always thoughtful, the movie transcends its static nature to become a deeper picture of modern Iran than any news story could offer.
Jafar Panahi spotlights the act of filmmaking as an act of resistance as well as a possible source of propaganda and manipulation.
An insightful, enjoyable, absorbing ride that stands as a testament to its director's lively, ungovernable storytelling imagination.
Taxi grew on me. It is not as angry and painful as his previous work, the samizdat This Is Not a Film, but it is subtle, humorous and humane. It tells you more about modern Iran, I think, than you’ll discover on the news.
A film of quiet but profound outrage, laughing on the surface, but howling in anger just beneath.