Lantouri: The Turbulent Generation After the Revolution and the Forgotten Value of Silence

Lantouri, directed by Reza Darmishian, which was recently showcased at the Karlovy Vary and Munich festivals, is the third film by a young filmmaker from the post-revolution generation that cries out the pains and problems of this generation. Darmishian's first film, 'Ghoghz', lamented the desire for emigration of this generation but did not reach anywhere. However, his second film, 'I Am Not Angry', which followed the story of a star student after the events of 2009, was excluded from the Fajr Film Festival awards and, despite having a production and screening permit, was prevented from being screened due to the 'interests' of the Ministry of Culture and Islamic Guidance. This film achieved a commendable harmony in structure and form and could engage the audience in the turmoil and chaos of a disillusioned generation's world. It seems that in Lantouri, Darmishian, after the artistic success of 'I Am Not Angry', is repeating his previous film: with the same kind of fast and nervous editing and mad characters. There is no doubt that the characters in Darmishian's films—and he himself—represent a lost generation that does not have a good time (the generation born after the revolution that probably has vague memories of the bombings during the war and whose youth and adolescence have been accompanied by many restrictions in emotional and sexual relationships, as well as a lack of political and civil freedoms). The tense and nervous atmosphere of his two recent films reflects the same concerns, complexes, and problems that this generation inevitably carries, consciously or unconsciously. Therefore, both of Darmishian's recent films are notable examples of the conditions of the post-revolution generation, with characters who either face political and social problems or, in Lantouri, descend into madness. However, the narrative process in 'I Am Not Angry' is much more mature than in Lantouri. In Lantouri, the filmmaker is angry, and the result of this anger is a disturbing film. The film plays intensely with the audience's nerves both in terms of subject matter—acid attacks and retribution—and in form, and although it seems that the filmmaker's intention is precisely this—a sharp and cutting narrative of a disturbing incident that must disturb—it ultimately turns the film into a journalistic report. Darmishian began his career as a journalist for cinema publications; perhaps this journalistic background has led to both of his recent films having a report-like structure. In this perspective, 'I Am Not Angry' moved on the edge but managed to approach depth, while Lantouri remains superficial. The tense atmosphere and strange editing of the film—affected by the rhythm of music videos; which, of course, is a strength of the film in the filmmaker's intended structure—goes so directly and without any concealment into the heart of violence that it deprives the filmmaker of any opportunity for a more artistic and deeper perspective. Lantouri is, in fact, a reaction; a reaction to a defective structure that creates defective and sick characters. This reaction is very heartfelt and instinctive; as a result, it seems that the opportunity for contemplation has been taken away from it. The film is screaming and asking us to listen to this scream, but the filmmaker does not realize that this scream can become deafening due to its loudness. Darmishian—like his peers—must first calm down to be able to look at his surroundings with distance. Although I understand that a turbulent society deprives its citizens of this possibility, Darmishian, if he thinks about creating art that endures, must abandon the sharp and piercing everyday perspective and look at the world through a different filter; with a lens that knows the value of silence and can summarize all his words in a shot instead of shouting.