First, the music: if you’ve never heard of Lee Bozeman, well now you have, and you ought to go and listen to his work, all of which you will find linked to on his blog. His project from a few years back All Things Bright and Beautiful is one of the loveliest, lushest art-rock/post-rock albums to have come down the pike in a while. Besides being beautiful to listen to, Bozeman is a skillful lyricist, weaving the malaise of contemporary society, reflections from Western Christian thought and Orthodox theology and liturgy (Bozeman is currently attending St. Vladimir’s). It’s not a combination you get everyday in any genre of music, to be sure.
Next, two films, neither of which are especially recent, but I only lately got a chance to see them. First, Jafar Panahi’s 2006 film Offside works through a very straight-forward storyline: several Tehrani girls want to watch the World Cup qualifier game but are barred from the stadium by Iranian law. Their attempts to sneak in and blend into the all-male crowd fail, and they are placed in an impromptu holding pen just out of sight of the game. The rest of the film focuses a tight lens on their interactions with their guards. There is a lot of potential for straight-up propaganda here, and the film does engage in some rather obvious castigation of the quite ridiculous law and the young soldiers’ participation in it. However, what saves the film is its willingness to humanize the soldiers, revealing them to be more or less unwilling agents, drafted and stuck and not wanting to get stuck deeper in. The film’s final scene takes place in a police van with the girls being driven to the Vice Squad headquarters, accompanied by two of the soldiers. The journey is interrupted by the joyful anarchy of the post-victory celebration, and the film ends on a decided high-note.
Also hailing from an Iranian director, Majid Majidi’s Baran is in many ways a quite different creature: it is on one level an extended allegory of the path of the Sufi aspirant to the Divine, and is suffused with imagery taken from Rumi and others. The plot revolves around a young Iranian, Lateef, who is presented, ‘pre-repentance,’ as a hot-headed, vindictive kid who deeply resents Rahmat, the young man (or so he initially thinks) who replaces his position as tea-wallah on a Tehran construction site. Upon discovering the young man’s secret- he’s no young man at all, but a girl disguised as such in order to support her family, Afghani refugees from that country’s endless conflicts. Upon the discovery- the initial ‘tasting’ of the divine in the allegory- Lateef is transformed, and the rest of the film is devoted to his devotion to the Beloved, whom he does not truly ‘draw near’ to until the end of the film, and then only briefly. In between, Majidi paints a beautiful picture of the aspirant’s spiritual journey, concluding with Lateef’s losing of his identity for the sake of the Beloved (in this case, selling his precious ID card) and his transformation after the moment of fana’ in meeting the Beloved.
As you might have gathered, a prior knowledge of Sufi themes and practices (and, I ought to add, themes and practices also found in Shi’a Islam, whose relationship with Sufism is long and complicated), especially as revealed in Persian poetry, helps a lot in enjoying this movie. This is a philosophical, ‘mystical’ even film, and much of the pleasure of watching it comes from an awareness of the multiple layers of meaning and significance at work. That said, it is not as philosophically challenging as, say, an Abbas Kiarostami film. The story is straight-forward enough and can be appreciated on the external- zahir- level. Like Majidi’s other films, this one is visually beautiful, especially the scenes shot in the countryside around Tehran. There is also a political undertone- Afghan refugees and their struggle with immigration law (and anti-immigrant sentiments) is central to the film, and will strike American (or European or South African or Mexican or…) viewers as terribly familiar. While Majidi does not assault state power as head-on as Panahi, the critique is certainly still there, and quite effective. But at heart this is a film about something that transcends any particular political situation: the love of man for God, the love of one person for another, (the two having a way of mingling together and overlapping) love that both transforms and consumes, love that is not safe but all-consuming.