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.
★★★ / ★★★★
“Machete” was a fake trailer so good, it was green lit as full-feature film. Machete (Danny Trejo) was a Mexican Federale who disobeyed his boss which led to his wife’s beheading. Three years later and now in America, Machete was approached by a mysterious man named Booth (Jeff Fahey) for a job. For $150,000, Machete was assigned to kill Senator McLaughlin (Robert De Niro), whose platform was to ensure a stricter Mexican-American border, while making his speech for re-election. But the simple assassination plot was not what it seemed. The heated debate about illegal immigration was directly related to a drug cartel led by Von Jackson (Don Johnson) and the kingpin Torrez (Steven Seagal). “Machete,” directed by Ethan Maniquis and Robert Rodriguez, was an incredibly violent, bloody, laugh-out-loud funny, creative mess. The filmmakers knew that the movie was an exaggeration of good and bad action films that we loved and hated. Most of the action defied the law of physics but it didn’t matter because it was entertaining. It provided an excellent example of a character whose background information we did not need to know or fully understand. We just knew he had to survive because he was a symbol of the people, specifically immigrants, both legal and illegal, who were every day marginalized yet used as a scapegoat when a country was in an economic turmoil. Amidst the flying bullets, blades scraping through skin, and blood being painted on walls, I was surprised that it had moments of thoughtfulness, although wrapped in humor like a burrito. For instance, one of Booth’s henchmen stated that we allow Mexicans to enter our homes to clean, take care of our children or siblings, and park our cars, yet we wouldn’t allow them to enter our country. Controversies concerning illegal immigration aside, there was a painful truth to that statement. Furthermore, as enjoyable as the men were to watch, there were some interesting casting choice concerning the women who eventually came to fight on Machete’s side. Michelle Rodriguez was a perfect choice to play Luz because she was edgy, tough, and beautiful. On the other hand, Jessica Alba as an immigration and customs enforcer was not entirely convincing because she didn’t have enough angst and roughness. I actually squirmed in my seat during her speech, while standing on the hood of a car, about our rights to stand up to a law that failed to protect its people’s best interests. I felt like I was in a room with a high school teacher who got a little too carried away by the subject at hand. The most fascinating was Lindsay Lohan whose dream was to become a “model” but she really meant taking her clothes off over the internet. I gave her the benefit of the doubt. Maybe she wanted to satirize her wacky life. “Machete” embraced the offensive, the grimy, and the bold. I embraced it right back.