User reviews

Beautiful film about what happens when loftier ideas of learning and education meet the stark reality of day-to-day existence of nomadic Kurdish refugees.

This story moves through the dusty Iran/Iraq landscapes like a painful wheeze, yet compels you stay on the path, mindful of every step.

I find this especially moving now, during these gut-wrenching times in which we live, and considering the US's tattered and torn relationship with the people of the Middle East.

If you're looking for star power, look elsewhere. I've not seen or heard of any of these actors, but I was completely satisfied with their genuine performances. This film is also subtitled, so some may consider that a deterrent but I didn't because the pacing of this movie allowed for it.

Definitely worth a view, especially if you are a person who enjoys films that juxtapose the behavior of mankind vs. the human spirit.

peace.

BLACKBOARDS is a human story - an arduous one at that. It affirms the tenacity of human spirits. Its hard medicine content could be uneasy for some to bear. At its core, there is warmth a-glowing beneath it all. Writer-director Samira Makhmalbaf is a true artist - she included subtle visual poetic accents. Shooting along the rugged terrain of Kurdistan, nearing the border between Iran and Iraq, it's barren of vegetation, full of treacherous rocks as people traverse the steep mountain paths and windy troughs. I really appreciate a particular detail scene: from the held wide-shot of a group of teachers with blackboards strapped to their backs, standing abreast at a mountain road clearing - paused, camera quietly cuts to a close-up of a pair of feet with 'billowing' fabric of the trousers. We need no sound effect of whistling wind, the shot was at once poetic and effective. How succinct and direct in expressing the moment, Samira did.

For a 20-year old woman Iranian director in her second feature film, Samira Makhmalbaf is awesome - sensitive, perceptive, mature in her viewpoint, with bold persistence against all odds to complete her project. Keen awareness of the state of affairs her film is focused on - not so much as making a political statement, she's more in earnest depicting simple everyday things: the mundane human needs of the wandering Nomads yearning to be home; the young 'mule' boys struggling for meager living yet looking out for each other; teachers seeking pupils in exchange for food. It's philosophical: through the course of the journey, the fate of the blackboards goes through transitions as situations demand - even "let go." Survival and adaptability co-exist.

Samira has a good mentor - her father Mohsen Makhmalbaf, who is a collaborator on the writing of "Blackboards" and her first feature, "Apple, The" 1998 (a bold unique storytelling in docu-drama format). She also has the expert assistance of cinematographer Ebrahim Ghafori, who previously worked with her on "Apple." Bahman Ghobadi is the actor who portrayed the teacher who ran into the expedition of the young 'mule' boys with contraband goods on their backs. He was the writer-director-producer of the film "A Time for Drunken Horses" 2000, and here in "Blackboards," it's déjà vu - this time is not of snowy setting, but included brief dramatic storyline between him and the boys. Reality is still bitter truth, but Samira kept the element of humanity intact.

Other efforts from the Makhmalbaf family include: "Day I Became A Woman, The" 2000 by Marzieh Meshkini, Mohsen's wife. "How Samira Made the Blackboards" (it'd be interesting to see how Samira shot the film in such arduous circumstances and with mostly non-professional cast with wide age differences) by Mezssam Makhmalbaf, Samira's brother. Father Mohsen Makhmalbaf did "Gabbeh" 1996 and "Kandahar" 2001.

More Iranian films? Try writer-director Majid Majidi's "Baran" 2001 - a poignant story about a young man (17-year old) in Tehran, how he matures through his deeds in trying to help an illegal Afghan of a poor family - it's a rich human story from the filmmaker who gave us "Color of Paradise" 2000 and "Children of Heaven" 1999.

'Blackboards' is one of those films that has divided audiences between fanatical admirers and grumbling dissenters. The former admire the director's skilful juggling between formalism and humanism, individual quests and social movements, private moments and public set-pieces; her filming of landscape; her eliciting of unsentimental, compelling performances from an amateur cast; her insistence on enigma and loose ends; her portrait of life in extreme, harrowing conditions. The dissenters bemoan her fudging of politics - sure, she shows the exploitation of children, the mass displacement of the Kurds, and the murderous terror lurking behind every rock, but by refusing to put these in a contextual framework, such depictions are blunted in political force.

there is a whiff of misogyny to me in these complaints. It's okay for men to make ambitious, universalising statements, but women must remain concerned with the local. Presumably Makhmalbaf would have been more political if she had concentrated on authenticating the patterns on the women's dresses. Of course, culture in general has moved towards the local: with post-modernism, very few artists have had the confidence to think on a large scale (I don't mean make large-scale films, which any fule kan do).

This is presumably why 'Blackboards' reminds me of older types of artists. Most immediately, it could be a massive Beckett play, full of wandering vagrants in a vast, desolate landscape, peopled with Lucky-like slaves, surrounded by an unseen, God-like menace, occasionally erupting in capricious violence. Like Beckett, there is no real beginning or end, no context, just a sense of never-ending repetition with the only possible relief in death.

Like Beckett (eg 'Waiting for Godot'), culture has no place in such an environment, indeed, seems a grotesque irrelevance, an incomprehensible babble, traces scraped in a landscape no-one can read now, never mind in the future. And yes, the film is as unremittingly hopeless as a Beckett play - there is no progress or redemption here. But it is as bleakly funny too - eg the whole marriage farrago between Said and Hahaleh; the game of marbles watched by her son; the tragicomic, very Beckettian inability of her aged father to relieve himself.

In the film world, 'Blackboards' reminds me of no-one so much as Angelopolous, especially in a film like 'The Travelling players', where a group of itinerant outsiders observe and become absorbed in an unfamiliar community. Makhmalbaf has Angelopolous' confidence in allegory, a way of dramatising in mythic form life and displacement under a totalitarian regime, without in any way 'abstracting' the violence and pain.

The empty landscapes suddenly being inexplicably over-run by faceless crowds also has the millenarial feel of Andersen's recent 'Songs from the second floor', or later Bunuel, from whom the theme of the journey, coming across strange, surreal strangers (eg the uncanny scene with the masked gardener whose son languishes in an Iraqi jail), or images such as the blackboard-hauling men like grounded birds watching blackbirds in the sky, and overhearing another, ominous, unseen flying object, derives. There are many, many ways of being political.

Unlike these masters, however, who prefer irony and distant tableaux, Makhmalbaf, through restless handheld camerawork, gets right in between her characters and makes us feel for them.

This film is flawed in any number of ways - stories are unresolved; scenes of military oppression are unconvincing; and more generally I was left with a somewhat unmoved feeling when the lights came up. I thought "The apple" was a fantastic film in its challenging combination of documentary and fiction, but perhaps that an over-simplicity in "Blackboard"'s storyline was exposed by the same honest, basic direction and storytelling that made Ms Makhmalbaf's previous film really powerful.

There are definitely many positive aspects to this film as well. It fearlessly deals with one group of people (nomads who I think are Kurdish) people who really are vulnerable and at the mercy of powerful and highly suspect governments on both sides of the border. It shows that these people have a cultural strength that seems to transcend their harsh circumstances. In its other story strand it shows movingly how children, even more vulnerable, are exploited by a deregulated commercial system. Beetle-browed, bowed beneath heavy loads in the hot sun, self-defensively referring to themselves as 'mules', the kids are old before their time.

The film also has a (more or less) powerful sense of transcendental storytelling to it. The nomads are all oppressed people, looking for a promised land. The children are mythical also: the kid's story about the rabbit has an air of antiquity about it.

Neither group of oppressed people has time for the education that the main characters offer. They are too busy surviving. The use of non-actors in the film is a strength and a weakness. In a story that is more obviously fictional than "the Apple", some performances are a little wooden. But I think the emotional punch of realism, the feeling that we may in effect be watching something that is happening today somewhere in the world, more than makes up for this formal, actorly problem.

Hurriedly, then: a flawed diamond in the dust.

It must hard to talk about ignorance, poverty and war without being realistic. I reckon that, most of everything, this film is "realistic". It is undeniable that the settings, the characters and the issues belong to the director's background. She's been able to give "a hint of poetry" thanks to several touching and clever shots (For instance: A family that finds protection under a blackboard). I'm afraid that this film looses part of its potential because of its hybrid nature. It's not a drama, but it's not a documentary either. There are few stories crossing each other, but it is not complex enough to consider it a "Magnolia-style" thing. Finally (and this is what the film seems to be about), there's a teacher who dreams to heal his country with education but ends up facing the bitterness of a failed relationship. Nevertheless I truly appreciated the very last scene, that is worth 2 points in my final vote.

Iacopo Destefani

This is a rather well made movie, that shows some of the problems in Iran that affects its poor northern citizens, without luckily ever getting over-dramatic or too sentimental but at the same time it's also lacking in true depth to make this a powerful or impressive movie.

It's a slow moving movie that is entirely filmed with handhold camera, with lots of long sequences. It works good for a realism and the atmosphere of the whole movie but at the same time means that this is not a movie for just everyone. You must be able to handle the slow- and different way of storytelling to appreciate this movie fully.

The movie is good looking, with its moody, never-ending, landscapes and good camera positions to tell the story with. The dialog is realistic, though not always interesting. I mean they basically say the same things five times in a row in this movie, which perhaps is a bit irritating. This is also due to the non-professional actors that play in this movie. Needless to say that not everything works out fully in this movie, especially when it comes down to the true emotion or depth of the movie. Lucklily there is no lack of realism, although the movie its story pushes it at times. But on the other hand it's the story that still makes this a pleasant movie to watch. The subject might be heavy and serious but luckily the movie doesn't try to emphasis this. The end result is a good and not heavy to watch movie that is absolutely worth seeing but lacking in real emotions or depth to make a true lasting impression.

The movie is told from an original point of view; A couple of schoolteachers that travel trough the North of the country to remote villages and groups of refugees, to teach them the basic things such as writing, reading and simple math, to try and give everyone a better future and at the same time earn some money or get some free food as well. They're mixed up in all the difficulties but yet they're no part of it. If they want they can walk away from all the troubles if they choose to. They're objective in the whole situation and they don't do more than is ever asked of them.

Most of the characters in this movie are being played by non-actors. It works realistic but at the same time is one of the reasons why the movie is lacking in any true depth or well acted out emotions. The movie as a whole is effective and it makes its point well but it does so without ever impressing too much, with the exception of one or two great sequences.

Samira Makhmalbaf has some good and promising potential as a filmmaker and is possible future Oscar potential, just like her father, who also co-wrote this movie but her movies have to become even more confronting and daring if she wants to achieve that.

7/10

http://bobafett1138.blogspot.com/

This wonderful movie (shown here as "Blackboards") demonstrates the power of cinema to communicate circumstances and situations that are totally alien to those of us watching in comfort during a U.S. film festival.

The Director/Screenwriter, Samira Makhmalbaf, literally learned her trade at her father's elbow. He taught her well. Makhmalbaf was only twenty years old when she made this movie, but she has already acquired the skilled director's eye for filmmaking.

The locale in which the film is set is totally alien to me. The mountains of Iran offer stones and more stones. I believe this is the first picture I have ever seen where there is not a single image of a tree or even a green plant. The mountains are made of rocks, and the homes are made of rocks, and most of the characters in the the films spend their time climbing up, down, and between the rocks.

In this incredibly harsh, barren, non-nurturing environment, two young teachers carry blackboards on their backs and try to find someone--anyone--who wants to learn to read and write, and who can pay for this instruction.

Obviously, the teachers are motivated by their basic needs for food, water, and shelter, but--like all good teachers-- they are also motivated by the desire to teach.

Each teacher attaches himself to a group of people moving across a border. (I was never sure which border this was--I think it was from Iran to Iraq.)

Each group has endured hardship and tragedy, and their journeys are filled with the threat of danger. Despite this, the teachers continue their attempts to teach.

This movie was not only powerful, but it was informative. Anyone who thinks the mountains of Iran are more or less like the mountain meadows Julie Andrews encountered when she sang "The hills are alive with the sound of music," needs to see "Blackboards." Despite this hardship, human beings survive, and their desire to learn and to teach survives as well.

An amazing film--not to be missed!

THIS FILM WAS SEEN AT THE LITTLE THEATRE, DURING THE HIGH FALLS (ROCHESTER, NY) FILM FESTIVAL. THIS FESTIVAL IS NOT LARGE, BUT THE QUALITY OF FILMS IS OUTSTANDING. WOULD BE WORTH A SPECIAL TRIP IN 2003!

the film is about a group of Kurdish people who migrated to Iran after Halebje massacre in 1988. the film starts at a point that people want to return their homeland(Iraq).i think Makhmalbaf was not depicted the mere story of a group of people but she wanted to show how Kurdish people live in mountains of mid-east for centuries to all people of the world.the film's runtime is about 85 minutes but it is the whole history(maybe destiny) of Kurds, guns,massacres,blood,ignorance...Said is an idealist teacher who want to enlighten his people. the woman character tells us the psychological effects of the Halabje massacre. when border soldiers fire the group she says "again nuclear weapons..." i think it is very interesting in that it shows the brutality of the Saddam regime who used nuclear weapons and killed about 5000 children, women and the old.

I understand the vigorous debate Samira Makhmalbaf's BLACKBOARDS, has generated, but I'd also say that I loved this very demanding but often moving film - a remarkable achievement for a very young, but already accomplished filmmaker. Watching her career develop will be quite a treat.

Shot with hand-held cameras and featuring a Kurdish cast of non-actors, BLACKBOARDS is very slowly paced, with a rambling quality that captures the aimless down time of everyday life. However the restless camera work also fills the film with an unceasing tension, gradually revealing the desperation filling the stateless existances of the many nervous characters.

The politics of the region are an ever-present backdrop to the story, and unfortunate political machinations render both education and basic survival an arduous complexity - to live and to gain even the most basic of educations are made into luxuries, which - even in desolate and strife-torn landscapes - some are willing to die for.

A handful of moments stood out for me: the scenes set in the river camp showcase the warmest of human interactions, and the final scene is remarkably beautiful.

This very rigorous film (superficially reminding me of both Abbas Kiarostami and Tsai Ming-liang) nonetheless had me hooked.

Under the unique documentary technique, the film is more heavy and conveys a variety of themes. The function of the blackboard changes with the development of the story, and the only constant is the hope it represents.

Firstly, for all those who say that this DVD is expensive, do as I did - rent it from your local lending library. £1.80 for a week, less cos I got it as a 3 for 2 on a Friday. You'd be surprised what World cinema gems (at least mine) they stock, mostly ignored by the rest of the population as they sit there from week to week.

'Blackboards' reminded me SO much of another story of Iranian children being mules for contraband and risking life and limb to sell them in bordering Iraq - the uniquely titled 'A Time for Drunken Horses'. That remains one of the most beguiling and humbling movies ever made and remains a definite favourite of mine.

Some (well, let's be honest, most) scenes portraying the out-of-work schoolteacher, traipsing around the arid mountains looking for pupils to teach and how he gets married with his only tool of the trade being the barter, are eye-opening. Unbelievable, actually but as the amateur cast are obviously not acting this out for fun and the very seriousness of their plight, this is all very far from being a joke.

The honesty of it all makes one humble simply to be alive, let alone being alive in our comparatively comfortable West. Like I said in my 'Drunken Horses...' review, one to show your children when they start moaning that their expensive trainers are the wrong colour.

I don't think that the details of the plot are needed here. It's a short film and a lot happens, but slowly - and naturally. But, I will say that you'll never have seen so many uses for a board that's painted black in your life before.

This is essential, but minor Iranian cinema. If you do come across it, either on TV or whatever source you can, make time for it. It's unforgettable.

Released in 2000, BLACKBOARDS was the second film by Samira Makhmalbaf, daughter of acclaimed Iranian auteur Mohsen Makhmalbaf and a precocious director in her own right. As the film opens, a group of itinerant teachers lug blackboards into the mountains of Iranian Kurdistan, seeking to bring education to this illiterate, impoverished region in exchange for some meagre income.

Two of the teachers quickly branch off from the group, and the film follows their adventures. Saïd (Saïd Mohamadi) falls in with a group of nomads trying to get back to their native land across the border in Iraqi Kurdistan. Rebwar (Bahman Ghobadi) meets a group of children transporting contraband over the border. The teacher's efforts to help the locals learn to read and write are rebuffed time and time again, to the point that the film takes on the quality of a play by Samuel Beckett or Harold Pinter. Saïd's attempts to get through to the lone woman in the party (Behnaz Jafari) are the height of absurdism.

Samira Makhmalbaf's visual aesthetic is mainly that of her father's early films, and the film evokes the beauty of this mountainous region, as well as the desolation that causes its poverty. And it's cool that the dialogue is in Kurdish, as there aren't so many films available in the West that highlight this people. However, I must say that I found other aspects disappointing. BLACKBOARDS makes a thought-provoking point that the poor are too busy surviving to worry about ideals like education, but the script doesn't really hang together. The acting is also inconsistent, with a big disconnect between the professional actors and the local Kurds who were brought on.

You might take a chance on BLACKBOARDS. I certainly don't regret seeing it, it's memorable and there's some humour. But I remain unsatisfied.

I have nothing against slow movies -- for instance kiarostami is a huge favorite of mine. But I have to admit, this film really pushes the slow-and-obtuse envelope. it's mainly the script. the teachers encounter various nomads and desperately harangue them to hire them as teachers... when people refuse, they just repeat themselves again and again, and it seems that nobody really listens to anyone else. it's a study in harshness. it leans heavily on symbolism, and you feel that the whole thing is totally constructed by the filmmaker, that no respect at all is being paid to naturalism or the kinds of reactions that people would likely have in a situation like this. so, if you're really excited by a symbol-filled, quite stark time, you will appreciate this. I wasn't up for it.

Blackboards -- Persian/Kurdish name تخته سیه -- takhte siyah, where تخته (takht) means board and سیه (siyah) is dark. I don't know anything about Persian but with my limited knowledge of Arabic I could make it out.

If you are looking for a charismatic film, with a flamboyant young hero, great action, sensuous, colorful heroine or for a great fighting sequence and men jumping out of a flight and your adrenaline pumping till the end of the movie -- you should NOT be watching this. This is my 2nd.film of Samira Makhmalbaf that I am watching after ' At 5 in the afternoon.' There is no point in comparing the 2 work of art but I would consider this film, as a real stroke of the genius.

If you are looking for a story line -- it has NOTHING, primarily Samira's and her father Mohsen Makhmalbaf does not have a specific story line. It is a journey - a journey of a Kurdish teacher during the 8 years long Iran- Iraq war which commenced in 1980.Said Mohamadi or Said is a Kurdish teacher, who carries at his back a blackboard - which in many ways become a symbol of love, war, marriage and separation. He carries the multiplication table of 2 and 3 and yearns to teach the young people. The film starts with a lot of teachers معلمان -- or 'mualamin' -- as you will hear the word quiet often in the film, walking on a rugged terrain of Iran, searching for students. They talk of desperation and frustration about the dearth of students. Is the director, Samira/Mohsen trying to put up an irony ? Who is willing to learn? Are we, the civilized people, living under favorable condition willing to learn? Then, why to blame the Kurds who struggle every moment for food and water willing to learn?

Then suddenly they hear the gun fire from the helicopters and the group disperses, each moving in their own direction. Said, then joins a group of people who are walking and Said promises to take them to the border. The deal got finalized over 45 walnuts !! The person in the group agrees to give it to Said once they reach the group. Samira Makhmalbaf, shows her ingenuity in selecting different characters in the group.

An old man, suffering from urinary problem, a woman carrying her child and few other people who are struggling for food, water, maladies of varied degrees. All those characters, are submerged into an unison -- fight for existence. Said is unable to find a single person who is willing to learn and faces the denial on a repetitive manner. Finally a young boy Reeboir agrees to learn. The film portrays Said as a altruist, who endangers his life to teach his students. When chased by the rebels, the film shows Said constantly uttering the multiplication table and the correct pronunciation of Reeboir, when clambering down the hills Said is rising and so his only student Reeboir.

The young boys, they call themselves mules are clueless about where they are going. They are not willing to learn.

The blackboard symobilzes the man's journey -- becomes an object of need when required. When a young boy falls down the cliff, Said's black board is cut into and given an aid to his amputated limb, as a support to dry clothing and a shelter to hide during the gunfire. Said gets married to Halaleh played by Behnaz Jafari just behind the blackboard and she asks her dowry -- a blackboard.

The film hovers around the struggle, suffering and mankind's zeal to survive under the most unfavorable conditions. I would not conclude the film here as there is a inconspicuous ending......What happens at the end is predictable but how it happens is what the genius of Samira and Mohsen Makhmalbaf shows us.

To me it is not just a film - it is actually what is happening and that is how it happens and that is what reality is. Reality in film is best shown here and we should rise up from the romanticism of our thoughts and embrace the truth.

okay, now i know that this won an award at cannes but i can only presume that this is because the judges were working under the principle that seems to afflict literary critics from time to time. if it is incomprehensible then it cant be really bad, and who knows it might be great.

in a handout which i picked up in the cinema the director confesses to the fact that after each days shooting she then went and wrote the screenplay for the next days filming! now i am no movie mainstream boy, i like to be challenged by films and i like films that require effort. however, i do like films that appear to have something to say, not necessarily a simple beginning, middle, end storyline but at least something in terms of character development if not plot development.

it just makes me wonder what the reaction to this film would have been if it had been made in Britain or the USA or France? would everyone be saying its breathtaking and moving and a truly political film? or would we have been saying to the director 'next time work out what you want to say or how you are going to say it...or even better both'. last comment must go to my faithful fellow cinema goers who laughed when the titles came up and someone was credited with writing the script. the smile on my face was not so much through laughter as a wince of uncomprehending pain.

Blackboards is a very good film: well acted and engaging. The story is fresh: a group of Iranian teachers with blackboards on their backs, trying to each undereducated Kurdish refugees how to read, write, count, et cetera.

The film is filled with endearing characters: a sharp young boy working as a mule, a teacher desperately trying to teach those around him, an old man with urinary problems, a woman whose chaotic life has been extremely painful and just wants to be able to hold on to her son. Samira Makhmalbaf has revealed herself as a humane filmmaker with a good eye for drama in everyday life. The film is honest in its vision of a world where reading and writing seem so useless, where the only thing that matters is the ability to keep on moving. That is what makes the teachers' attempts to teach the many refugees so pathetic. I feel that a good filmmaker like Makhmalbaf, someone who has a story to tell and knows how to tell it, is better than the dozens of pretensions auteur filmmakers with their overblown visions and obnoxiously pointless powerhouse melodrama.

I had expected to be impressed by the landscapes, charmed by the story, engaged by the politics. But no. The plot, dialogue and characterisation were as featureless as the scenery. The filming was unimaginative. I was bored by every minute of this film.

Blackboards is at its best when considered a dreamy, surreal take on real-world issues. It's a shame though that the film's style doesn't match it's content – if it had then it could have been truly affecting and memorable. As it is, it pairs the visual and conceptual silliness of men running around with blackboards strapped to them, and the visual and conceptual non-silliness of innocents meeting trouble on the hills of the Iran/Iraq border, which confuses the message. Further, shooting the otherwise farcical adventures of the blackboaders in the (ever popular) faux-documentary realism style undermines Samira Makhmalmaf's attempt to consider issues such as imprisonment, gender equality, education and communication, which are all jumbled around in the text fairly loosely, and not in the regimented way the style would have enhanced.

Not only are these issues trampled on by the blackboarders, but the characters are not exactly equipped with the faculties to make them engaging for 85 minutes. They are moronic, moribund individuals, trapped on empty endless hillsides or engulfed in smoke which might as well be a metaphor for their foresight. They are not interesting. The trouble is it's unclear whether the director is mocking them or pitying them. One assumes the former, but unfortunately the message is, like the writing on the boards, incomplete.

9/8 12:00 pm BLACKBOARDS (***)

Would have rated lower before realizing that the director is only 21. Interesting docu-drama about Iranian school teachers with blackboards strapped to their backs who wander the desolate mountains in search of under-educated Kurdish refugees. Great premise but using non-actors results in stiff performances. Story wears a little thin and drags in places which shouldn't happen in an 85 minute film.

Not a bad effort for a 20 - year old, even when considering that her father is a (locally) famous director, though I would question that it warranted the attention it got here in France. The film starts off with very memorable images of a band of teachers wandering through the rough terrain of the Iranian borderland, in search of prospective pupils, with their blackboards tied to their backs. A great starting point for the film, but unfortunately from there on it increasingly meanders through the plot, stretching some plot elements beyond the tolerance of even a forgiving "alternative cinema" audience -- half as long would probably have meant twice as good. Still, I haven't seen many movies from this part of the world, or made in this style, so overall it made for a good cinematic experience.