Jafar Panahi's 2003 picture, written by Kiarostami
opening scene with the fixed camera, T-shaped, with some offscreen space emphasised more than others
simple direction; reverse and back, long takes, with frequent master shots as well
a few head on framings that again give this film a simple atmosphere
general quite contained in the frame, but not monotomous due to break up in the motorcyle elements, with vertical space
the temporal disjunction challenges the viewer, one of the film's main themes
really all about creating something repellent, and then learning to sympathise
also a film considering class issues, and kinds of pleasures
his eating indicates his last pleasure; all is taken away
fame uses an elliptical style where the main 'reasons' are withdrawn; this is why it's more of a character portrait than a classic narrative
not the most ambitious film ever, but well made (and wonderfully well pitched writing), make it a decent film
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