I’ve just watched two new masterpieces, one after the other, that pretty much define the possibilities of cinematic form in the 21st century. So does a third formal experiment, albeit less interestingly.
In Taxi (2015), which carries no credits because of its status as a clandestinely made film, Jafar Panahi plays himself driving a taxi around Tehran with a tiny digital dashboard camera. The 80-minute film or video takes place in “real time” (which took 15 days to shoot) and follows his interactions with various people who represent aspects of contemporary society, including two older superstitious women, a wounded man and his wife, a DVD bootlegger, a woman who’s a well-known human rights lawyer, and Panahi’s precocious niece, who’s shooting her own video for school. Every character is both natural and mysterious, arousing our interest. There are nods throughout to Panahi’s previous films.