{"id":7941,"date":"2015-10-09T22:52:32","date_gmt":"2015-10-09T22:52:32","guid":{"rendered":"https:\/\/www.revistarambla.com\/taxi-teheran\/"},"modified":"2021-04-13T18:22:53","modified_gmt":"2021-04-13T16:22:53","slug":"taxi-teheran","status":"publish","type":"post","link":"https:\/\/www.revistarambla.com\/en\/taxi-teheran\/","title":{"rendered":"Taxi Teher\u00e1n"},"content":{"rendered":"

\"alt\"<\/p>\n

Desde<\/span> el a\u00f1o<\/span> 2010 el aclamado<\/span> director iran\u00ed<\/span> Jafar<\/span> Panahi<\/span> est\u00e1<\/span> arrestado<\/span> y no puede<\/span> dirigir<\/span> pel\u00edculas<\/span> en 20 a\u00f1os<\/span>, pero<\/span> su<\/span> lucha<\/span> personal en contra de las<\/span> autoridades<\/span> iran\u00edes<\/span> hacen<\/span> de esta<\/span> prohibici\u00f3n<\/span> un acicate<\/span> para<\/span> continuar<\/span> resistiendo<\/span> al r\u00e9gimen<\/span> con lo mejor<\/span> que<\/span> sabe<\/span> hacer<\/span>, volcar<\/span> en im\u00e1genes<\/span> en movimiento<\/span> sin desaprovechar<\/span> la cr\u00edtica<\/span> ni<\/span> el buen<\/span> cine. En sus<\/span> dos anteriores<\/span> pel\u00edculas<\/span> despu\u00e9s<\/span> del arresto<\/span>, se restringen<\/span> al espacio<\/span> cerrado<\/span> de su<\/span> casa, en esta<\/span>\u00a0nueva<\/span>\u00a0pel\u00edcula<\/span> se aleja<\/span> del arresto<\/span> domiciliario<\/span> y cambia el plat\u00f3<\/span> de la sala<\/span> de estar<\/span> por<\/span> el espacio<\/span> cerrado<\/span> del interior de un taxi.<\/p>\n

Una<\/span> pel\u00edcula<\/span> que<\/span> podr\u00eda<\/span> pasar<\/span> por<\/span> un documental, que<\/span> tiene<\/span> como<\/span> referencia-homenaje<\/span> a la pel\u00edcula<\/span> Ten, del director Abbas Kiarostami<\/span>, mentor de Jafar<\/span> Panahi<\/span>. Un director-actor-taxista<\/span>, con gorra<\/span> y gafas<\/span> se coloca<\/span> al volante<\/span> de un taxi que<\/span> recorre<\/span> las<\/span> calles<\/span> de Teheran, y una<\/span> c\u00e1mara<\/span> fija<\/span> en el salpicadero<\/span> va<\/span> mostrando<\/span> el entorno<\/span> de las<\/span> calles<\/span> de Teheran y a los diversos<\/span> pasajeros<\/span> que<\/span> ocupan<\/span> ese<\/span> reducido<\/span> plat\u00f3<\/span>, esos<\/span> personajes<\/span> reales<\/span> o de ficci\u00f3n<\/span> van describiendo<\/span> una<\/span> realidad<\/span> del pa\u00eds<\/span>, con sus<\/span> comentarios<\/span> y observaciones<\/span>, todo<\/span> con un toque de comedia<\/span> aunque<\/span> lo que<\/span> o\u00edmos<\/span> y vemos<\/span> nos da<\/span> una<\/span> visi\u00f3n<\/span> de la situaci\u00f3n<\/span> que<\/span> se vive en ese<\/span> pa\u00eds<\/span> de r\u00e9gimen<\/span> isl\u00e1mico<\/span>.<\/p>\n

Aunque<\/span> la c\u00e1mara<\/span> es<\/span> fija<\/span>, a veces<\/span> se mueve<\/span> seg\u00fan<\/span> los pasajeros<\/span> y vemos<\/span> tambi\u00e9n<\/span> el paisaje<\/span> que<\/span> recorre<\/span> en este<\/span> periplo<\/span> por<\/span> las<\/span> realidades<\/span> ocultas<\/span> de una<\/span> sociedad<\/span> tutelada<\/span>, la m\u00fasica<\/span> acompa\u00f1a<\/span> el breve<\/span> decorado<\/span> mientras<\/span> pasan<\/span> los variopintos<\/span> pasajeros<\/span>, un defensor<\/span> de la pena<\/span> de muerte<\/span> para<\/span> los ladrones<\/span>, una<\/span> profesora<\/span> liberal que<\/span> la cuestiona<\/span>, un agitador<\/span> cultural que<\/span> trafica<\/span> con copias<\/span> piratas<\/span> de pel\u00edculas<\/span>, un ciclista<\/span> accidentado<\/span> casi<\/span> moribundo<\/span> que<\/span> acompa\u00f1ado<\/span> de su<\/span> mujer<\/span> es<\/span> llevado<\/span> al hospital mientras<\/span> hace<\/span> testamento<\/span> grabado<\/span> en un m\u00f3vil<\/span>, un aprendiz<\/span> de cineasta<\/span> que<\/span> aprovecha<\/span> la ocasi\u00f3n<\/span> para<\/span> pedir<\/span> consejos<\/span> al maestro, una<\/span> pareja<\/span> de mujeres mayores<\/span> que<\/span> representan<\/span> ese<\/span> pasado<\/span> supersticioso<\/span> que<\/span> se refleja<\/span> en el presente<\/span>, Hana<\/span>, ni\u00f1a<\/span> de doce<\/span> a\u00f1os<\/span>, sobrina<\/span> de Panahi<\/span> que<\/span> est\u00e1<\/span> realizando<\/span> un trabajo<\/span> cinematogr\u00e1fico<\/span> siguiendo<\/span> las<\/span> pautas<\/span> del Ministerio<\/span> Nacional<\/span> de Orientaci\u00f3n<\/span> Isl\u00e1mica<\/span>, y una<\/span> abogada<\/span> activista<\/span> que<\/span> como<\/span> Panahi<\/span> tiene<\/span> prohibido<\/span> ejercer<\/span> su<\/span> trabajo<\/span>.<\/p>\n

Lo que<\/span> parece<\/span> un ejercicio<\/span> sencillo<\/span> se convierte<\/span> en un trabajo<\/span> muy<\/span> personal y lleno<\/span> de temas<\/span> sociales<\/span> que<\/span> van desfilando<\/span> por<\/span> la pantalla<\/span>, a veces<\/span> con la c\u00e1mara<\/span> fija<\/span>, otras<\/span> con las<\/span> c\u00e1maras<\/span> o tel\u00e9fonos<\/span> de los pasajeros<\/span>, la captura<\/span> de la imagen<\/span> en movimiento<\/span> al alcance<\/span> de cada<\/span> ciudadano<\/span>, Taxi Teheran rezuma<\/span> cine por<\/span> los cuatro<\/span> costados<\/span>. Reflexiones<\/span> diversas<\/span> surgen<\/span> durante<\/span> el metraje<\/span>, la aplicaci\u00f3n<\/span> de la Sharia, la pena<\/span> capital a ladrones<\/span> de poca<\/span> monta<\/span>, la no denuncia<\/span> de actos<\/span> delictivos<\/span> para<\/span> evitar<\/span> el ajusticiamiento<\/span> del delincuente<\/span>, la mujer<\/span> como<\/span> personaje<\/span> subalterno<\/span> en una<\/span> sociedad<\/span> donde<\/span> predomina<\/span> el poder<\/span> del hombre, pero<\/span> Panahi<\/span> deja<\/span> a los personajes<\/span> femeninos<\/span> la parte<\/span> m\u00e1s<\/span> agradecida<\/span> de su<\/span> trabajo<\/span>, el cine como<\/span> elemento<\/span> que<\/span> distorsiona<\/span> la realidad<\/span>, el acceso<\/span> a la cultura<\/span> cinematogr\u00e1fica<\/span> restringida<\/span> y prohibida<\/span> en el pa\u00eds<\/span>.<\/p>\n

A medida<\/span> que<\/span> fluyen<\/span> las<\/span> escenas<\/span> de la pel\u00edcula<\/span> nos alejamos<\/span> de la problem\u00e1tica<\/span> situaci\u00f3n<\/span> personal de Panahi<\/span>, y este<\/span> nos plantea<\/span> el dilema<\/span> de como<\/span> poder<\/span> contar<\/span> historias<\/span> en un pa\u00eds<\/span> que<\/span> pone tantas<\/span> trabas<\/span> a los creadores<\/span> para<\/span> poderse<\/span> expresar<\/span>, bajo<\/span> la opresi\u00f3n<\/span> y tutela<\/span> del estado<\/span> isl\u00e1mico<\/span>. La larga<\/span> secuencia<\/span> de la sobrina<\/span> Hana<\/span>, que<\/span> c\u00e1mara<\/span> en mano<\/span> esta<\/span> haciendo<\/span> un trabajo<\/span> escolar<\/span> y le plantea<\/span> a Panahi<\/span> las<\/span> absurdas<\/span> restricciones<\/span> que<\/span> le ha marcado<\/span> su<\/span> profesora<\/span>,\u00a0 con que<\/span> son las<\/span> mismas<\/span> que<\/span> tienen<\/span> todos<\/span> los creadores<\/span> que<\/span> trabajan<\/span> en Iran y la causa<\/span> del arresto<\/span> del cineasta<\/span> al subvertir<\/span> esas<\/span> normas<\/span>.<\/p>\n

Pel\u00edcula<\/span> necesaria<\/span> y recomendable<\/span>, Jafar<\/span> Panahi<\/span> a pesar<\/span> de su<\/span> arresto<\/span> nos deja<\/span> una<\/span> lecci\u00f3n<\/span> magistral<\/span> de narraci\u00f3n<\/span> cinematogr\u00e1fica<\/span> con rabia<\/span> contenida<\/span> pero<\/span> con mucho<\/span> sentido<\/span> del humor.<\/p>\n

estreno<\/span> 9 de octubre<\/span> de 2015<\/p>\n

\"alt\"<\/p>\n

No hay cr\u00e9ditos<\/span><\/p>","protected":false},"excerpt":{"rendered":"

Desde el a\u00f1o 2010 el aclamado director iran\u00ed Jafar Panahi est\u00e1 arrestado y no puede dirigir pel\u00edculas en 20 a\u00f1os, pero su lucha personal en contra de las autoridades iran\u00edes hacen de esta prohibici\u00f3n un acicate para continuar resistiendo al r\u00e9gimen con lo mejor que sabe hacer, volcar en im\u00e1genes […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[61,4],"tags":[],"class_list":["post-7941","post","type-post","status-publish","format-standard","hentry","category-cine","category-cultura"],"yoast_head":"\nTaxi Teher\u00e1n - Revista Rambla<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revistarambla.com\/en\/taxi-teheran\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Taxi Teher\u00e1n - 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