As a film critic who’s spent my formative years navigating the bustling streets of Tehran, I can confidently say that “Boomerang” is a breath of fresh air in the Iranian cinematic landscape. Shahab Fotouhi, a seemingly seasoned storyteller for his age, has managed to capture the vibrant pulse of modern-day Tehran with an authenticity that’s both refreshing and captivating.
Shahab Fotouhi’s first film, “Boomerang,” offers an unexpected, charming depiction of contemporary Iran. What’s most striking is that its creator, Shahab, is in his forties. His perspective seems not just fresh, but overlooked. He vividly portrays the bustling Tehran with a youthful zest, encapsulating — through interwoven tales, occasional incongruities, and even a touch of magical realism — the city’s atmosphere during a period of generational shift.
It’s understandable that Fotouhi grew up in the aftermath of the Iranian revolution, given the film’s characters are middle-aged, and many of them, particularly the male ones, cling to outdated ways of thought, behavior, and existence. Nevertheless, the heart of “Boomerang” lies in its female characters: Sima (Leili Rashidi), a mother figure, and her teenage daughter Minoo (Yas Farkhondeh). Although they rarely share screen time, their interwoven narratives offer insight into Iran’s evolving social landscape.
The movie starts off in a romantic-comedy style when Minoo catches sight of an attractive young man named Keyvan (played by Ali Hanafian) from across the street. As they both wait for the pedestrian light to change, they exchange playful glances without saying a word. Eager to get closer, Minoo requests that Keyvan untie his bun; he does so, showing off his long, lush hair. It’s a charming moment, filled with a hint of anticipation.
In my world, I’m part of a group of teens bonding over shared confessions, filled with a touch of sarcasm. Meanwhile, upon returning home, I discover my husband, Behzad, eavesdropping on our neighbors’ intimate moments – a scene I feign obliviousness to. Unlike the budding romance between Minoo and her partner, my marriage with Behzad hangs precariously, poised to crumble at any instant. Behzad is covertly trying to arrange a run-in with his ex, while my growing discontent with him has essentially made our divorce inevitable.
The relationships depicted in this film form a wide-ranging storyline, yet “Boomerang” doesn’t follow a typical path when exploring societal issues. Scenes featuring the main characters often feel like separate moments rather than sequential events within a narrative. Despite this, the movie is consistently thought-provoking. The cinematography by Fotouhi and Faraz Fesharaki lingers on empty spaces after characters have departed, and unexpected scenes and interludes are introduced through extended pans and tilts of ordinary city landscapes. There’s a sense of nostalgia to this style; it acquires a near-mystical quality due to Panagiotis Mina’s unique and contemporary electronic soundtrack.
The movie “Boomerang” is more about the interactions between characters rather than the dialogue itself. Fotouhi’s insights are often reflected through how scenes start or conclude. For example, Behzad, like many of the middle-aged or older male characters in the film, consistently appears uncertain – even while arguing over parking spaces. Interestingly, there’s a moment where he boasts about his quince jam, as if it were his unique skill, leading to a hilarious and creative joke.
On the contrary, Fotouhi also portrays young females casually strolling into scenes – “interjecting”, if you will, but what they’re truly doing is simply enjoying themselves in public areas. This subtle yet significant act can be seen as a symbol of defiance amidst Iran’s current social upheavals. Notably, these women only don casual head coverings such as hoodies, bandanas, and winter hats. Minoo, one of the characters, even sports green highlights in her hair.
The movie, while not directly aggressive, carries a strong political undertone by showcasing Tehran in its relaxed settings, even featuring a minor character discussing his personal life as a member of the LGBTQ+ community. This subtle, complex portrayal of the city and its young population stands out significantly from the typical Iranian cinema that is often more structured and serious-minded, such as the “New Wave” films, which further emphasizes the refreshing quality of Fotouhi’s unique approach.
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2024-09-01 11:16