Director: Reza Dormishian
Country of Origin:Iran
Year:2016
Running Time:115 mins
Format:DCP
Related Links: Trailer | Variety review | Berlin Film Journal review
Cast: Navid Mohammadzadeh, Maryam Palizban, Baran Kosari, Mehdi Kooshki, Bahram Afshari, Reza Behboudi
Producer: Reza Dormishian
Screenwriter: Reza Dormishian
Cinematographer: Ashkan Ashkani
Editor: Haydeh Safi-Yari
Production Design: Reza Dormishian
Music: Kayhan Kalhor
Print Source: Iranian Independents
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Unreeling with near-cyclonic force in a nonlinear style, Lantouri marks another ambitious examination of the churning frustrations of Iran’s disenfranchised younger generation from multihyphenate Reza Dormishian (I’m Not Angry)… This social drama is about lex talionis, the “eye for an eye” retaliation justice permitted by Islamic law, but it also references a whirlwind of themes, including Iran’s human-rights violations, the struggle for women’s rights, corruption and a host of other contempo issues…
Purporting to be an investigation of a shocking crime, Lantouri feels stylistically inspired by Godardian jump cuts, Tom Tykwer’s Run Lola Run photo montages, and Kamran Shirdel’s singular masterpiece, The Night It Rained (1967), which mixed interviews and media reports to provide contradictory views of a single event. From the opening moments, Dormishian’s film practically assaults the viewer with an explosion of images, details and voices…
The crime in question is the dousing of a woman’s face with acid, and the victim is Maryam (Maryam Palizban), an aristocratic thirtysomething journalist and social activist, who has spent many years campaigning against Iran’s retaliation justice. But after her hideous disfigurement, her feelings about lex talionis undergo a 180-degree change. The perpetrator is Pasha (the intense Navid Mohammadzadeh, as good here as he was in I’m Not Angry), a younger man who becomes obsessed with Maryam and fancies himself her suitor, even though he comes from a lower social class and a life of crime. Is his action a premeditated deed, or a spontaneous crime of passion?—Alissa Simon, Variety
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