Really Who?
On "Who Killed Amir?" the movie.
By: Alireza Mahmoudi
A new generation of young Iranian filmmakers is presenting its works. This generation enjoys unique features with effort to evade classical rules and styles in film narrations which is the most important characteristic of all those films. These filmmakers often shift from amateur cinema and friendly atmosphere which prevails during production of such projects to professional cinema and try to carry the same cordial atmosphere to professional field of making long films. These young filmmakers believe that extremely professional and economic atmosphere governing the Iranian cinema is threatening the roots of creativity and experimentalism in this cinema. In addition to taking advantage of new ways for attracting people to the Iranian cinema, they try to make different and convincing films. For these reasons, such filmmakers cannot work continuously within the limited economic cycle of the Iranian cinema. Many restrictions on their way have also increased capabilities of young filmmakers; so that, they try to use plans through which they can materialize their mental experiences through the least possible investment and in the shortest possible time. "Who Killed Amir?" the second long film made by Mehdi Karampour, is a good example of such incipient films of the Iranian cinema.
The film is about killing a man called Amir whose killer has not yet been found. In the meantime, eight people who have had a role in Amir's life explain about his life and murder from their own viewpoints. This review in the course of the film, not only introduces audience to personal characteristics of Amir, but makes viewers suspect everyone of those eight people as possible killer of Amir. The suspense spreads throughout the film, while facts expressed by characters are contradictory and open a new window of human relations in contemporary Ira to viewers. At the same time, the main question remains unanswered: Who killed Amir?
Production of this film was phenomenal in the Iranian cinema from the viewpoint of time allocated to it. Eight professional actors and actresses of the Iranian cinema play the main eight roles of this film, which has no more actors. Niki Karimi, Khosro Shakibaei, Atila Pessiani and Mahnaz Afshar are among actors who were involved in this project for two to three days. They have played their roles at a specific location in front of camera as monologue. Therefore, actors of the film are expected to arouse curiosity of common spectators to see a different film. Karampour has used a similar method in his first film, called "Somewhere Else," which was about immigration. Although due to type of narration and using unusual storytelling techniques such as animation and clips, the film was not a box office hit during public screening, it proved Karampour's status as a filmmaker and he learned how to cut cost of film production through various methods to prevent losses in case of low revenues.
This noteworthy point about the theme of "Who Killed Amir?" is its relation to social issues of Iran. Iranian psychologists had warned during recent years that people have to put up different countenances in front of other people, not having any time for affection and love and expression of their love for one another and taking advantage of every opportunity to work more and earn more money. These conditions have made every Iranian to be entangled in a network of work and friendship relations in their everyday life where they have to give up their personal character. In this complex network of relations, profit and personal interest gradually replaces heartfelt feelings and violence becomes rife in the society. "Who Killed Amir?" scrutinizes this ominous phenomenon.
While at first it appears that friends and colleagues of Amir are sad about his sudden murder, when personal masks are torn away, it becomes clear that they are not really sad about his death. Their professional and working relations with Amir are such that every one of them could have killed him. It is within this frame that directing such film is heavily dependent on narrative structure and characterization, appears a difficult job. Mixing dramatic façade of each character with the whole story, although is not new to world cinema, is quite novel for achieving a social goal in contemporary Iranian cinema.
While writing the film script took a lot of time, its shooting was completed rapidly. The speed was made possible through using a predetermined decoupage and long rehearsals of actors. On the other hand, the presence of Mehrdad Fakhimi, experienced cinematographer of the Iranian cinema, who has shot films such as "Travelers" (Bahram Beyzai), has caused the film to enjoy suitable visual discretion for displaying various dimensions of its complex characters.
Mehdi Karampour has thus far made several documentaries, short, narrative and publicity films. Before making this film, he had made a tourist film about Iran for Iran Travel and Tourism Organization. He considers himself to belong to a generation of Iranian filmmakers who try to voice social protest while remaining independent. He believes that suitable vehicles should be found for new experiences in the Iranian cinema; so as to not only encourage audience to follow up unusual Iranian cinema, but also pave the way for investing in such films. "Who Killed Amir?" should fulfill two important tasks under such conditions. Will it be successful?
Film International, Winter & Spring 2006, No.46 & 47.
