{"id":24683,"date":"2023-01-30T08:55:50","date_gmt":"2023-01-30T06:55:50","guid":{"rendered":"https:\/\/themarkaz.org\/oldmarkaz\/?p=24683"},"modified":"2023-02-04T09:56:44","modified_gmt":"2023-02-04T07:56:44","slug":"the-end-of-innocence-in-panah-panahis-hit-the-road","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldmarkaz\/the-end-of-innocence-in-panah-panahis-hit-the-road\/","title":{"rendered":"The End of Innocence in Panah Panahi&#8217;s <em>Hit the Road<\/em>?"},"content":{"rendered":"<p>&nbsp;<\/p>\n<h4>Bavand Karim<\/h4>\n<p>&nbsp;<\/p>\n<p><em>Hit the Road<\/em> is the auspicious debut feature from Iranian writer and director Panah Panahi. The film follows a family on a road trip, ostensibly a vacation, through the outskirts of Tehran and beyond. The vacation masks a mission, the motives of which are a mystery. The journey is guided by the cautious father, Khosro (Hasan Majuni), and validated by the heartbroken mother (Pantea Panahiha), while the car is driven by elder son Farid (Amin Simiar). They all work in paranoid secrecy to keep the purpose of the trip hidden from their younger son (Rayan Sarlak), whose exuberant innocence buoyantly sustains the journey. As they reach their destination and the ultimate toll of their circumstances becomes apparent, the reasons for their secrecy, caution, and heartbreak become all too clear. What Panahi presents is a portrait of a family in crisis, one that could destroy them at any minute. Yet they continue on with an irrepressible spirit.<\/p>\n<div class=\"ose-youtube ose-uid-291d92792ed243e17f0147313a229900 ose-embedpress-responsive\" style=\"width:600px; height:550px; max-height:550px; max-width:100%; display:inline-block;\" data-embed-type=\"Youtube\"><iframe loading=\"lazy\" allowFullScreen=\"true\" title=\"Hit the Road \u2013 Official Trailer\" width=\"600\" height=\"550\" src=\"https:\/\/www.youtube.com\/embed\/6PTz6Dzsv6A?feature=oembed&color=red&rel=0&controls=1&start=&end=&fs=0&iv_load_policy=0&autoplay=0&mute=0&modestbranding=0&cc_load_policy=1&playsinline=1\" frameborder=\"0\" allow=\"accelerometer; encrypted-media;accelerometer;autoplay;clipboard-write;gyroscope;picture-in-picture clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p>Panahi\u2019s work contains obvious influences from his father, Jafar Panahi, the legendary auteur and icon of Iranian New Wave cinema who is currently banned from filmmaking in Iran. [Iran\u2019s <a href=\"https:\/\/www.khanehcinema.ir\/en\/about\">House of Cinema<\/a> has called for Jafar Panahi\u2019s immediate release from prison. Panahi, 62, was arrested by Iranian authorities in Tehran on July 11, 2022, and is serving a six-year sentence for \u201cpropaganda against the regime.\u201d If released, it is expected he will be slapped with a 20-year ban on making or writing films, traveling, and even speaking to the media (Panahi has made five films since the ban was announced). After starting a hunger strike, Panahi was released on bail on Friday, Feb. 3, 2023\u00a0\u2014ED]. Jafar, along with Abbas Kiarostami, the departed master filmmaker, is known for featuring child protagonists, rural locales, and vehicles on the move, all for the purpose of crafting contemplative allegories about Iranian life. With <em>Hit the Road<\/em>, the junior Panahi uses similar techniques to fashion a tragicomedy that honors his father\u2019s continuing legacy while introducing his own unique voice.<\/p>\n<figure id=\"attachment_24688\" aria-describedby=\"caption-attachment-24688\" style=\"width: 1024px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-24688\" src=\"https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/Hasan-Majuni-and-Pantea-Panahiha-as-young-Rayans-forlorn-parents-in-Hit-the-Road.jpg\" alt=\"\" width=\"1024\" height=\"576\" srcset=\"https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/Hasan-Majuni-and-Pantea-Panahiha-as-young-Rayans-forlorn-parents-in-Hit-the-Road.jpg 1024w, https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/Hasan-Majuni-and-Pantea-Panahiha-as-young-Rayans-forlorn-parents-in-Hit-the-Road-600x338.jpg 600w, https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/Hasan-Majuni-and-Pantea-Panahiha-as-young-Rayans-forlorn-parents-in-Hit-the-Road-300x169.jpg 300w, https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/Hasan-Majuni-and-Pantea-Panahiha-as-young-Rayans-forlorn-parents-in-Hit-the-Road-768x432.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption id=\"caption-attachment-24688\" class=\"wp-caption-text\">Hasan Majuni and Pantea Panahiha as young Rayan&#8217;s forlorn parents in <em>Hit the Road<\/em> (photo courtesy Kino Lorber).<\/figcaption><\/figure>\n<p>In interviews from Tehran last April, Panah Panahi credited his sister, Solmaz, for inspiring <em>Hit the Road<\/em>. Solmaz had performed in Jafar Panahi\u2019s <em>The Circle<\/em> and was arrested by the state at one point. She eventually fled to Paris. \u201cMy father decided to let my sister leave the country because they would use her to threaten him,\u201d her brother told the <em>New York Times<\/em>. He continued:<\/p>\n<p style=\"padding-left: 40px;\">What I found more interesting than factually presenting contemporary Iran, is this journey of a family letting their child go. They\u2019re sending their child to the unknown. Maybe death. But still, you let your child leave. That\u2019s probably what allowed audiences of the world to relate to this film. It\u2019s not about one group of people who have one specific problem in one point of the world; it\u2019s something more common to our existence as human beings.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-24686\" src=\"https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/HittheRoad_poster_KL_1000.jpg\" alt=\"\" width=\"450\" height=\"667\" srcset=\"https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/HittheRoad_poster_KL_1000.jpg 675w, https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/HittheRoad_poster_KL_1000-600x889.jpg 600w, https:\/\/themarkaz.org\/oldmarkaz\/wp-content\/uploads\/2023\/01\/HittheRoad_poster_KL_1000-203x300.jpg 203w\" sizes=\"auto, (max-width: 450px) 100vw, 450px\" \/>Panahi\u2019s use of magical realism is masterful and apparent from the opening shot of the younger son playing the piano on his father\u2019s leg plaster cast in time with a mournful Schubert piece that serves as the film\u2019s theme. Typically, the actors in the film are not aware of the musical score, which is intended as an emotional marker for the audience. Since the son is playing the score, it implies that he hears it, which dissolves the invisible wall. This form of fourth wall-breaking immediately shifts the audience from being figurative passengers who are along for the ride to active participants in the action, and more importantly, subject to the affections of a loving family \u2014 we\u2019re at the mercy of their passions, and involved with them, accountable and vulnerable, just as are the characters.<\/p>\n<p>The family bonds in <em>Hit the Road<\/em> perfectly capture the anguish and spirit of modern Iranian youth, who are endangered by their own journey, yet remain hopeful for a brighter future, fiercely devoted and defiant despite their frustration, helplessness, fear, and anger.<\/p>\n<p>Iranian cinema contains a distinct genre of films shot entirely in cars, sometimes covertly, as a means to circumvent state intervention \u2013 from Kiarostami\u2019s <em>Taste of Cherry <\/em>and <em>Ten<\/em> to the elder Panahi\u2019s <em>Taxi<\/em>. These endeavors are symbolic, a reminder that in Iran the creation of cinema is itself often an act of rebellion. In a culture where creating films is dangerous, a filmmaker who avoids the law while creating a film about avoiding the law is inherently engaging in a symbolic act of resistance against the oppressive nature of the Islamic republic. <em>Hit the Road<\/em> is an extension of that lineage.<\/p>\n<p>The exact reason for the family\u2019s rush to the Turkish border remains unexplained, a reminder that the details matter less than the consequences: that Iranian families continue to bear the emotional burden of oppression and injustice. Through its subtextual, layered metaphors, <em>Hit the Road<\/em> transcends its unspoken subject matter. And the viewer, as both passenger and participant, is complicit in the journey.<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bavand Karim finds that&#8217;s Panah Panahi&#8217;s feature is a prodigal debut from Iranian cinema\u2019s latest auteur and son of Jafar Panahi.<\/p>\n","protected":false},"author":198,"featured_media":24689,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center 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