Mourning
The Wisconsin Film Festival features a wide variety of
feature-length films from different countries, allowing moviegoers to sample
films from many genres. This year was no different than previous years, with
more than a hundred and forty films playing over a five-day period from April
18-22, 2012. After having lived in Madison for twelve years, this year was the
first time I have seen films at the festival. On Sunday, April 22, I watched
two of them, “Policeman “and “Mourning.”
Let me tell you about the second one.
“Mourning” (2011) is an Iranian drama from first-time
director Morteza Farshbaf, who is a protégé of the famous Iranian director
Abbas Kiarostami. As we watch “Mourning,” we see glimpses of Kiarostami’s
signature style, evident in his earlier works like “Taste of Cherry” (1997) and
“The Wind Will Carry Us” (1999). Iranian directors, noticeably Kiarostami, have
used the Iranian landscape to portray simplistic human stories before. There is
something lyrical about a countryside setting, letting characters temporarily
escape from daily chores and worries. On the surface, we as viewers perceive
this aspect, but as we dig deeper, we realize that a dusty Iranian landscape is
a metaphor for depicting beautiful human souls who are emotionally distressed and
yet manage to hold things together. “Mourning,” in this regard, is no
different.
“Mourning” begins with a scratchy-looking night shot in
which we hear voices of a man and a woman. We never see their faces, and it
seems as though they are having an argument over something. Moments later, we
are introduced to a young boy, Arshia (Amir Hossein Maleki), lying on a bed,
and he appears to be sad after hearing the quarrel. Soon after, we hear the
couple hurriedly drive away in their car. At this point, the shot cuts rapidly,
and we see Arshia sitting in the backseat of a car, riding with a couple,
Sharareh (Sharareh Pasha) and Kamran (Kiomars Giti), who are taking Arshia to
Tehran; the couple is deaf and they communicate using only sign language.
Later, we learn the couple is not Arshia’s parents, and Arshia is, in fact,
Sharareh’s nephew. In addition, Arshia’s parents died in a car accident after
the fateful night shown in the opening shot.
First and foremost, the film is a road trip. By the time the
journey finishes, although figuratively it never does, the characters are
microscopically examined through their interactions. In a mere eighty-five
minutes, we learn a lot about these characters, especially the couple. In the
context of the characters presented to us, the film’s title, “Mourning,” has a
multilayered significance. Who is mourning, after all? Is it the couple? Or is
it Arshia? As the scenes play out, we feel all the characters are grieving in
their own ways. For the couple, Arshia’s entry at this point in their life
opens up wounds from the past. At some point in their marriage, Sharareh and
Kamran agree not to have any kids, fearing that their child might be deaf, too.
But, Sharareh is still hurt because it was at Kamran’s insistence that they mutually
agreed upon not parenting a child. There is pain in Sharareh’s eyes, having
swallowed internally tears of a childless marriage all these years. Indeed, in
Sharareh’s case, time hasn’t healed the wounds, and this issue still remains an
issue between the two. Even though Kamran is a nice person, he fails to
understand Sharareh’s grief. For Kamran, Sharareh is the anchor, as she is
better equipped to respond in a crisis. Despite their issues, Sharareh and
Kamran are generally tolerant and pleasant to each other, with Sharareh
complementing Kamran rather well.
Arshia’s presence presents a similar scenario for the
couple, something they shrugged off years earlier. Are they willing to parent a
child now? Over the course of the journey, we realize they might not be ready.
Instead of getting emotional about it, the couple, through their conversations,
practically decide that with their communication barrier, the idea of being
parents would be overwhelming. It is obvious they are generous and welcoming
with their intent. Initially, Arshia
appears rather uninterested during the trip, and his character never blossoms
in the first half. But, in the film’s final act, the script focuses on Arshia,
showing us a weeping Arshia, releasing emotions associated with the loss of his
parents.
“Mourning” is not a heavy, grief-stricken drama of a couple,
per se; in fact, the film never feels this way. The conversations are added so
that we get some background on the characters. Within the conversations, there
are plenty of humorous moments, especially when Sharareh and Kamran are
conversing and when Arshia rides with a mechanic. Set against a beautiful
landscape, “Mourning” nicely balances humor and drama without getting overly
dramatic. In spite of the positives, however, I feel the movie slowed down a
bit in the middle half, but this is only a minor quibble.
With his debut effort, director Farshbaf has shown his
talent by keeping a tight focus on the characters and their issues and fully
utilizing the film’s running time. By keeping the climax open-ended, Farshbaf
has involved his viewers until the film’s very last moments. The word “grief”
means many things, but the film’s outcome leaves its characters with hope.
Indeed, “Mourning” is a laid-back Iranian ride worth taking.
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