Jafar Panahi-Dayereh ('The Circle') (2000)

In a hospital waiting room a woman learns her daughter, Solmaz Gholami, has just given birth. The ultrasound test had prepared the family for a boy. The baby, it turns out, is a girl. The joy the mother anticipated turns to terror for she knows her son-in-law's family will abandon her daughter. The old woman flees as the in-laws arrive. On the crowded streets of Tehran - a place where women are not permitted to stay out on their own or smoke in public - two women are also on the run. Arezou and Nargess have just been granted temporary leave from prison but they have no plans to return. (http://imdb.com/title/tt0255094/plotsummary)


They manage to scrounge together enough money for the bus trip to Nargess' hometown, but she lacks proper identification, and the police are searching everyone at the station. Meanwhile, their friend Pari has just escaped from prison in order to have an abortion. Threatened with death by her brothers, she flees from her father's house and meets with a former inmate, Elham, who is now married to a doctor and works in a hospital. (http://imdb.com/title/tt0255094/plotsummary)


Despite her connections, Elham is unable to help Pari in her hour of need. Despondent, Pari wanders the streets and chances upon Nayereh, a woman about to abandon her young daughter. Pari tries to stop her, but it is too late. Soon after, Nayareh, falsely accused of prostitution, is taken into custody by the police. As Panahi's narrative shifts dynamically from woman to woman, their stories culminate with tremendous potency, transforming a shared sense of despair and injustice into one kinship, and even hope. (http://imdb.com/title/tt0255094/plotsummary)


While Jafar Panahi's previous feature films dealt with children, with Dayereh he delves into the contentious issue of women's issues in a highly restrictive society, his native Iran. The film uses a narrative device that Tarantino might be proud to steal, with Panahi's camera following various women through their specific plights, often chasing them through the streets in handheld mode. At any moment, the camera may decide to follow a different character, and although the specific details of the various women's situations may differ, the oppression which is a part of their daily lives is consistently omnipresent. (http://imdb.com/title/tt0255094/usercomments)


One feature of the film that is part and parcel of its roving camera approach is that there is very little in the way of exposition or denouement in any of the narrative threads. This however, seems to be the point of the entire exercise; in a society that treats women as a lower class of citizen, individual details and circumstances have no bearing on their ability to achieve anything without the presence or authority of a husband or father. (http://imdb.com/title/tt0255094/usercomments)


Like Mohsen Makhmalbaf and Abbas Kiarostami before him, Jafar Panahi has succeeded in producing a small, but superb film. Kambuzia Partovi's script is great, linking the misfortune and fates of several young Iranian women together into a whole narrative. All four or five women (one is not as thoroughly described) have committed unlawful acts, but their crimes are not explicitly stated in the dialogue of the film. However, we understand that their crimes would not be considered near a crime in most other countries, because it is related to sex and female independence, not to real criminality. Bahram Badakshani's camera is always close to the women, and their acting is nothing less than brilliant. The tracking movement of the camera and the shots composed by a hand-held camera result in many long takes, where the actresses get to show their skill wihtout editing. This is also a marvellous success for the director Panahi. (http://imdb.com/title/tt0255094/usercomments)


This is a sad and rather hopeless life that starts with the unwelcome birth of baby girls, continues with abandoned girl children and culminates with the limited options and freedom women have in their life. We can watch not only how the tragedies of the the main female characters are unfolding but we can also see the humiliating way women are treated by men in their everyday life. (http://imdb.com/title/tt0255094/usercomments)


I also want to stress that the more I think of this movie, the more I like its film-making as well: the acting is excellent, the script is perfect (and even fast-paced, if you don't expect car races or fist fights as a proof of fast-pacedness...), every scene adds something new to the story. The film's message is conveyed to the viewer not only via the story itself: the photography, the close-ups and the cutting powerfully strengthens it. (http://imdb.com/title/tt0255094/usercomments)



Iranian director Jafar Panahi's Venice Golden Lion winner of 2000, "Dayereh", is a critical and extremely powerful film about women who suffer from the injustices of the laws of the Islamic Republic. (http://imdb.com/title/tt0255094/usercomments)





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