An Iranian London minicab driver is caught between two worlds in Mitra Tabrizian’s striking feature debut
This haunting debut feature from photographer and film-maker Mitra Tabrizian is set amid London’s Iranian community during the Arab spring of 2011. Centring on a melancholy figure caught between his former home and his current lonely life, it’s an arresting portrait of displaced struggles that moves almost inexorably from observational drama to eerie quasi-thriller. At its heart is a mesmerising (and often wordless) performance by Shahab Hosseini, who proved so magnetic in Asghar Farhadi’s 2017 Oscar-winner The Salesman. Adept at conveying weighty emotional conflicts through minimal physical gestures (his kind but careworn face speaks a thousand words), Hosseini holds the audience’s attention as Tabrizian’s elliptical, diasporic drama unfolds mysteriously around him.
There’s a distant echo of Robert De Niro in Hosseini’s Gholam, a nocturnal minicab driver whose variously...
This haunting debut feature from photographer and film-maker Mitra Tabrizian is set amid London’s Iranian community during the Arab spring of 2011. Centring on a melancholy figure caught between his former home and his current lonely life, it’s an arresting portrait of displaced struggles that moves almost inexorably from observational drama to eerie quasi-thriller. At its heart is a mesmerising (and often wordless) performance by Shahab Hosseini, who proved so magnetic in Asghar Farhadi’s 2017 Oscar-winner The Salesman. Adept at conveying weighty emotional conflicts through minimal physical gestures (his kind but careworn face speaks a thousand words), Hosseini holds the audience’s attention as Tabrizian’s elliptical, diasporic drama unfolds mysteriously around him.
There’s a distant echo of Robert De Niro in Hosseini’s Gholam, a nocturnal minicab driver whose variously...
- 3/25/2018
- by Mark Kermode, Observer film critic
- The Guardian - Film News
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