In 2007, Julie Delpy wrote, directed, starred in, composed the score for and edited 2 Days in Paris, a relationship comedy which charts a slipping knot in the bond between French-born photographer Marion and her interior designer boyfriend Jack (Adam Goldberg) when they wrap up a European vacation by taking a night train to Paris to visit her parents (Delpy’s real-life mom and dad) and pick up a cat. An observant, warm arthouse bauble, the film seemed unlikely to spawn a sequel. But one arrives this week with 2 Days in New York, a vibrant and engaging dramedy about mixed family and relationships whose predecessor isn’t essential viewing for enjoyment but certainly helps deepen one’s regard for it. In it, Marion and Jack are no longer a couple; she now lives with radio host boyfriend Mingus, played by… Chris Rock? I had a chance to speak to Delpy one-on-one recently, about her film, her father’s butt, the deliciously quirky casting of Rock, little white lies, and how (if not why) she’s been damned to hell. The conversation is excerpted over at ShockYa, so click here for the full read.
A striking and powerful documentary overview of the populist protests that rocked Iran in June 2009 and helped spark the Arab Spring movement, The Green Wave serves as an inventive registering of terrible turmoil, upheaval and governmental crackdown. Working with animator Ali Reza Darvish, director Ali Samadi Ahadi weaves together recreated blog postings and eyewitness accounts with interviews of prominent human rights activists and Iranian exiles, and in the process achieves something fairly remarkable — a record not only factual but equally emotional, capturing the electric sweep of feeling, and commingled hope and despair of the younger generation in Iran and, indeed, throughout much of the Middle East.
In the wake of what was widely regarded as a rigged presidential election victory by incumbent Mahmoud Ahmadinejad over progressive candidate Mir-Hossein Mousavi, democratic demonstrations and protests overwhelmed the streets of Tehran. This was notable as something never before seen in the Middle East. Citizens in many other countries, both Muslim and secular, took note. Revolutions in Tunisia, Egypt and Libya have since then toppled regimes, and civil war continues in Syria. Other countries — Bahrain, Yemen, Algeria, Iraq, Jordan and Oman, to name a few — also saw massive protests.
Iran, however, was and remains of special interest. In the news as a pariah because of its nuclear program, the populist uprising put an international face on the average Iranian, showing a desire on their part for fairer social policies, more governmental transparency, and arguably a greater and more conciliatory engagement with the world community. The Ahmadinejad regime’s brutal crackdown — with the certain blessing of the ruling mullahs — unleashed a band of knife- and club-wielding thugs on motorcycles, who roamed city streets beating men, women and children alike. Many more green-clad activists were arrested, and then beaten and/or raped, decried as treasonous “non-believers.”
The Green Wave documents this government-sanctioned brutality and murder, in a manner not unlike Israeli filmmaker Ali Folman’s 2008 Waltz With Bashir, which depicted refracted memories of his experience as a solider in the 1982 Lebanon War. It dramatizes, but also contextualizes and universalizes, with the animated segments and various textual social media updates serving as an artful counterbalance to the pulse-quickening cell phone videos (some graphic) of panicked demonstrators fleeing the wrath of their countrymen.
If there are criticisms, it’s that The Green Wave could benefit from a bit more surgical precision in its exposition and timeline of events and, at only 80 minutes, could also afford to plumb a bit deeper, either via updating the struggle in Iran or — perhaps more dangerously — attempting to rope in voices of hard-line law and order. Still, The Green Wave is an impactful snapshot of the human yearning for dignity and freedom. It serves as a reminder, as one interviewee stresses, that despotic regimes in power today may not be in power tomorrow, and that public records like this — unthinkable a generation ago — will serve as an important first draft of history of their crimes. For the full, original review, from ShockYa, click here. The Green Wave is also available on VOD and via crowd-sourced screenings; for more information, click here. (Red Flag Releasing, unrated, 80 minutes)