Still Life

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User Ratings: 327
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Movie Info

For more than three decades, aging Iranian Mohamad Sardari (Zadour Bonyadi) has worked as a crossing guard at a desolate train station. Through the years, Mohamad has done little to stifle the loneliness and boredom inherent in the job. Meanwhile, back at his family home, life is similarly uneventful: Mohamad's wife passes the time sewing night and day, especially since the couple's son left to join the army. As time passes, Mohamad mechanically continues to do his duty.

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Critic Reviews for Tabiate Bijan (Still Life)

There are no critic reviews yet for Tabiate Bijan (Still Life). Keep checking Rotten Tomatoes for updates!

Audience Reviews for Tabiate Bijan (Still Life)

  • Jun 30, 2014
    When a movie takes a deep dive at simplicity, for some reason, the whole thing seems more realistic, more human, more tangible. When the viewer, however, raises a rejection wall stating that film's are supposed to "entertain" and to be an escapist medium that resembles reality as little as possible, that viewer is missing a tremendous number of cinematic wonders, because the most wonderful things in our existence are in life itself, and not in cinema. To be the tangible protagonist of these wonderful simplicities is what makes this thing called life all the more personally meaningful. Cinema can reach the scope of life, I am convinced, but not the experience. The experience can be emulated. In this way, therefore, <i>Still Life</i> emulates the stillness of life and faithfully replicates its little details. The more a film can resemble life, the more I am simultaneously surprised and interested, because it is like if the medium was capable of reading my thoughts. The medium understands me. My reality materializes in front of the screen, and yet I have never lived it exactly like the characters do. Like Tárr said, it is important to find the proper shooting locations, which in this film become iconic. I bring up Tárr because of the multiple reviews referencing <i>The Turin Horse</i> (2011), but the connection is weak. Beyond the isolated landscapes untouched by modernity and the slow pace, <i>Still Life</i> and Tárr's films are entirely different universes. Both are serious films, given that all of Tárr's films are comedies, but the focus here is the deprivation of the life support of an old man that he lived for so many years, perhaps with a criticism nod to the indifference of Iranian laws and a nostalgic subtext of family separation, and not an examination of the human frailty with the story of Genesis told backwards to give a hint on the important aspects of the existentialist, semi-Nietzschian analysis. Potentially, this is the best Iranian film ever made. 99/100
    Edgar C Super Reviewer

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