I find it difficult to articulate a post on Shirin (Abbas Kiarostami - 2009), the last, discussed the work of Iranian filmmaker. I can think of only a few scattered considerations. But start with the plot: some Iranian women attend, in a dark room, a screening of the drama love of Khosrow and Shirin, based on a traditional Persian tale. The camera, in fixed installations, frames one after another, their faces and their reactions to the unfolding of the story, which we hear only the dialogue and we can understand the action only by the sounds and, of course, the expressions of the spectators . Some ideas. 1. The mirror: the idea is trivial, all right, viewers watching spectators and vice versa. With the difference, though, that while they are watching a work of fiction, we can not not think about the reality of these women in their country. No coincidence that the camera does not ever framed male faces, if not in the background. 2. Women, in fact: Kiarostami portrays a woman who is immobile, mute, trapped space of the frame, but without that stop her from trying to feelings and emotions to what he sees. 3. The critics: they spoke of metacinema of experimentation led to excess, many critics in Venice left the room. It is true that the film is based on a single idea, which is not developed much, but it is a work that leaves time to look, think, think. Against the current philosophy of tight fitting, the high rate at all costs, of cinema as pure entertainment. Not likely to become a masterpiece, but it deserves to be seen and above all not be judged too hastily.
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