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Panahi was sentenced to six years in prison and banned from film production for 20 years.The director, however, refused to be silenced, and despite being under extended house arrest, he created (with the help of fellow director Mojtaba Mirtahmasb) (2011), a striking documentary self-portrait in which Panahi wanders around his own apartment, reflecting on the creative and physical restrictions that have been imposed on him., the driver of the titular vehicle, our protagonist of sorts, pulls up to a middle school to pick up his precocious, bright-eyed niece.She complains, in that manner kids have where you can practically see them forgetting their words even before they've spoken, that he's late, that she's the last student to head home, and that it's embarrassing to get picked up in a taxi anyway. Eventually she pulls out her cell phone and starts to record him, almost absent-mindedly, for a school video project..But this isn't Texas, and that isn't Linklater in the taxi.These are the streets of Tehran, and that man in the front seat is Jafar Panahi, a filmmaker whom the Iranian government has banned from making movies.The action remains almost entirely in the conversations Panahi strikes up in these encounters, and his passengers are a consistently engaging, philosophical bunch.
An American director like Linklater could film a poor young man picking money up off the street without worrying about that footage being banned from theaters.
The director doesn’t have to do much to hold the audience's attention; the natural intimacy and improvisation of the dialogue draw us in.