Most people grow excited when they discover secret information, or in this case, a film made in secrecy. That’s precisely the case with Iranian director Jafar Panahi, who was arrested for creating propaganda against the Iranian authorities. Panahi was imprisoned and banned by the government from making films in 2010. Yet these restrictions, including living under house arrest, have not prevented Panahi from producing movies. His latest, No Bears, is both a compelling drama and an autobiographical look at the unstoppable desire to create art.
Panahi plays a fictionalized version of himself: an Iranian director seeking to direct a film remotely, using his laptop to communicate to his actors and crew filming in Turkey, where the director is not allowed to visit. When his WiFi connection goes out, the director’s work appears to be finished for the day until a local man asks him to take some photos of a local Iranian village ceremony.
The director complies and then discovers that by photographing the event, he has inadvertently created enormous controversy. He finds himself hounded by local officials who demand an account of his actions and motives. Meanwhile, we learn that the film within the film, the one the Iranian director is attempting to complete, also contains an interesting and possibly deadly level of art imitating life.
At this point, you may be asking, “What does the title No Bears have to do with any of this?” I’m going to leave that for you to discover by watching this tremendous film.
No Bears is a layered and fascinating film that builds in tension and complexity as we follow a director seeking to shine a light on truth and freedom, yet becomes more and more confined in his efforts. Even further, he risks political and personal danger to himself and those assisting him. Panahi’s films boldly face oppression head-on by contrasting tradition and progressive thought, long-held beliefs, and tangible evidence. In this case, life also imitates art: No Bears was completed just before Panahi was imprisoned by the Iranian government in 2022.
No Bears is one of three debut releases from the Criterion Collection’s new imprint called Janus Contemporaries, which also includes the 2022 Cannes Jury Prize co-winner EO and the César Award-winning crime comedy The Innocent. The DVD and Blu-ray releases of No Bears contain the 18-minute featurette “On Panahi’s Films” which includes a new interview with filmmaker Ramin Bahrani about Panahi’s work, a short statement from Panahi while serving time in prison, and a trailer.
What academic subjects would this film be suitable for?
No Bears would be a welcome resource for community colleges, and universities, particularly those with film studies programs and sociology courses. Any classes focused on world cultures would also benefit from the film.
What kind of film collection would this title be suitable for?
No Bears would be a valued DVD/Blu-ray resource for college/university libraries as well as public libraries. Although the film presents little objectionable material (some suggestions of violence), some younger audiences unfamiliar with the cultural and political aspects of the film may be confused. An appropriate public viewing license would allow schools, libraries, and other organizations to screen the film.
What subjects or college majors would benefit from the content covered in this film?
The content covered in this film would particularly benefit students and individuals majoring in subjects such as film studies, sociology, cultural studies, politics, oppression studies, and censorship. The film delves into themes and topics that align with these disciplines, offering valuable insights and perspectives for those seeking a deeper understanding of the intersection between film, society, culture, politics, oppression, and censorship. Students in film studies can analyze the cinematic elements, while those in sociology may explore the societal implications portrayed.