No One Knows About Persian Cats (2009)
★★★ / ★★★★
Negar (Negar Shaghaghi) and Ashkan (Ashkan Koshanejad), Iranian musicians recently released from jail, shared a similar passion in music. They wanted put their passion into action so they formed an indie rock band and, with Nader’s (Hamed Behdad) help, obtained visas and passports so they could play internationally. But since their government had a strict policy toward pop music, the three had to go through an underground culture in which getting caught by the authorities meant spending a long time in jail. “I can’t live without music” is a common phrase among teens and young adults and this film gave that saying a certain importance. It showed what great lengths Negar and Ashkan were willing to go through to live a less tethered existence and be immersed in something they simply loved doing. By observing the duo and the various underground bands they encountered, we could appreciate the freedoms most of us take for granted. Placing the cameras in the narrow alleys and not bothering to sharpen blurred images, the picture had an authentic feel. The roughness worked to its advantage because there were times when it felt like a bootleg copy, the same bootlegs that drove forward the underground movement. Although I have a penchant for indie rock, I was glad that it wasn’t the only type of music featured in the film. In order to make sure its message was universal, it showcased other genres like jazz, hard rock, pop, hip-hop, rap, and even world music. As each genre took center stage, the images shown and the style in which they were presented adapted a different energy not dissimilar to watching a music video. Like the film’s subject matter, it felt progressive because the boundary between music and film was challenged. The genres were different from one another but the messages within the songs shared certain themes: The oppression the young adults felt from their government, their love for their friends and families, and the anger that resulted from the marginalization of women and the poor. While the danger of getting caught was always prevalent, it still had a great sense of humor. For instance, Negar and Ashkan visited a farm where a group rehearsed their aggressive hard rock. One of the workers claimed that ever since they started rehearsing there, the cows stopped eating, giving milk, and bothering to get up and move around. I thought it was very amusing because when I hear aggressive hard rock, metal, or screamo, it’s like listening to hyperactive children banging on pots and pans as they screamed to the top of their lungs. “Kasi az gorbehaye irani khabar nadareh” or “No One Knows About Persian Cats,” directed by Bahman Ghobadi, felt small but revolutionary. But all revolutions start out small.