QUICK AND DIRTY: LIVE FROM KARLOVY VARY
In his blistering sophomore feature, Ali Behrad does more than keep his titular promise to reveal another side of his the city where he ws born. Straightforward storytelling allows room for a meditation on illusions, identity, and individualism within the kinetic backdrop of contemporary Tehran. The deceptively simple plot has two former lovers meet and reminisce on what once drove them together – and then apart. Leili (Anahita Afshar) and Pasha (Ali Shadman) encounter each other again at the wedding of a mutual friend. The celebratory context of happy and hopeful romance evokes melancholic memories of their shared past. Though non-confrontational, this key moment is heavy with unresolved emotions, lingering resentment, and regret.
As memories bleed into the present, intricate flashbacks reveal what happened between them. The humorous, upbeat beginnings mark an engaging contrast against the disillusion-infused opening scene. Behrad doesn’t shy away from silly spectacle and romcom tropes in order to lighten up the mood. The romantic spark with Leili literally sets Pasha on fire, and his crush on her gives him a concussion. The director toys with with cinematic conventions, instead of following them ad litteram. Euphoric, erratic beginnings set the tone for an affair defined by thrill and emotional tension. Though the dramatic arc is familiar, its sharp execution and unusual setting give it a fresh feeling. Incompatible needs slowly encroach on their palpable passion.
Leili’s need for space and autonomy also reflects her inner rebellion against a patriarchal society. Pasha, on the other hand, longs for commitment and closeness. The more he clings to her, the more she pulls away. Part of the originality of this almost classic scenario comes from its nonchalant acceptance of romantic impermanence. Their growing distance doesn’t blow into an existential tragedy. Not every union is meant to last, and that’s not a problem. As the two venture through the city, their fleeting feelings for each other make everyday occurrences feel adventurous, and adventurous undertakings – such as carwalking – trivial. As they are young and in love, each experience feels momentous.
Visual fluidity and lively direction accelerate the events, speckled with moments of comedy, fast-paced action, and stylised dreams. The plot also allows for quiet moments of emotional intimacy. Exoticism never weights down cultural specificities. The young protagonists’ Tehran is a place of paintball games, basement parties, and late-night drunk-drifting, pulsing with life and creativity. A young generation having fun is a gesture of resistence. Still, this near-equation of youthful hedonism and protest ignores the social privilege required such lifestyle. This absence of social nuances feels more negligent than the absence of overt political commentary.
A pop-heavy soundtrack punctuates emotional beats with songs that align with the characters’ interior lives, underscoring their unity or dissonance. Dynamic performances convey the protagonists’ volatile chemistry. Anahita Afshar makes Leili the more self-aware and determined of the two. Cinematographer Ali Ghazi’s polished clarity comes with a hint of artifice. This blends smoothly into the overarching theme of exuberant love and romantic detachment. Behrad’s vision, as sleek and modernist, provides a stark contrast to the oppressive concrete structures commonly associated with the capital. This falling-in-and-out-of-love story makes a lasting impression.
Tehran, Another View shows at the 59th Krlovy Vary International Film Festival.
