REVIEW: In 'No Bears,' Iranian filmmaker and dissident Jafar Panahi turns a self-reflexive story of a filmmaker on trial into a flipped bird to the authorities.
Still, the change of the scenery is lovely, and Panahi can concentrate on his work when he’s not searching for a signal. The owner of the place he’s staying at, a man named Ghanbar , is slightly starstruck — marquee-name moviemakers don’t usually come to town — and tends to his guest’s needs. A wedding is being planned, which has put everyone in a festive mood.
Then Panahi lets the tone shift, and suddenly, there’s an edge of hostility that creeps into this tale of a bucolic busman’s holiday. The locals think that the director took a picture of a couple while casually shutterbugging. Specifically, he may have captured the bride speaking to a man who’s pined for her for years. Accidentally, purposefully — Panahi’s intentions are unimportant to them. The village elders, not to mention the angry groom, want proof. They demand to see the picture.
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