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I totally respect the work Mr. Panahi had done and hardships he faced but this i refuse to give praise just because this footage represents something against Iran regime. American magazines give fake praises and it is overemphasized that this was recorded by an Iphone.It is generally honest and warm. But it is neither a political statement, nor a triumph. It does not represent a great value as a movie because it doesn't have a strong point for viewers.

This Iranian documentary directed by Jafar Panahi & Mojtaba Mirtahmasb has a very interesting & complex, backstory behind it. After several years of conflict with the Iranian government over the content of his films, the government arrested Jafar Panahi in March 2010, with charges of propaganda against the Iranian government when they find out that Jafar Panahi was trying to make a documentary about the Green Movement protesters. Despite support from filmmakers, film organizations, and human rights organizations from around the world, in December of that year, Panahi was sentenced to a six-year jail sentence and a 20-year ban on directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media, or from leaving the country except for medical treatment or making the Hajj pilgrimage. After a short jail time, he was released from prison, and order by the courts, to stay in his house for the rest of his sentence. While awaiting the result of an appeal of his house arrest, he secretly made, this 2011 documentary, 'This Is Not a Film', showing the troubles, he been having, since being sentence with house arrest in the form of a video diary. He did all this in spite of the legal ramifications of his arrest. It was smuggled out of Iran in a flash drive hidden inside a cake and shown at the 2011 Cannes Film Festival. I'm deeply surprise that this movie even got shown in the Cannes Film Festival in 2011. I'm more astonish, that Jafar Panahi got away with it, and didn't get into much trouble for pulling that stunt. You would think, that they would put him, back into jail. I guess, the Iranian government didn't want to drag this, issue out any longer, because it was making them, look bad, in the eyes of the Western World. By the early 2010's, the harsh antics of then-President Mahmoud Ahmadinejad was dying down, and Iran was looking for reform with civil rights charter Hassan Rouhani, in hope to restore the economy of Iran and improve rocky relations with Western nations. They didn't want, the Jafar Panahi issue to be overblown, so instead of more punishment, Jafar Panahi been allowed to move more freedom. While, Panahi is still banned from making films, he still somewhat able to get his films made. In 2013 & 2015, he got two films made with the help of his family members & friends. It's clear, that the government isn't enforcing this unwritten law. For safety reasons, in this film, Mojtaba Mirtahmasb did much of the filming. Since, it had to be made quickly, the movie doesn't no linear narrative, no talking heads and no interviews. It doesn't even much of anything of a story. For any viewer that isn't familiar to what Panahi is going, trough. This documentary makes a hard-watch. After all, it just shows Panahi doing mundane stuff with his pet, Iguana. It might be too boring. For any viewers, that know a little amount of Panahi. It looks like a masterpiece, because it shows how bored and desperate, Panahi has been since this verdict may mean his artistic death. For me, it was alright for the most part. I was always curious about, his previous films and how people can live, under a harsh totalitarianism government. I think the best thing about the film is showcasing the ancient Iranian festival of Chaharshanbe Suri that precedes the Persian New Year and how young people are rebelling, by shooting outlawed fireworks. I never heard of the holiday, before seeing this film. My least favorite part is the chat with the trash collector. It was way too claustrophobic, unclear and hand-on for me. The only thing, I can nitpick, is how the film, could have service the people, of Iran, a lot more, instead of himself. Don't get me wrong, I love that this film is a good example of an open letter for free expression in Iran, but it's a far cry, from anything he done, before it. His style of neorealism within the Iranian New Wave film movement is memorable. The way he mix real time events with storytelling is rich in poetry and painterly images. Sadly, this movie doesn't show, any of that. It's a noble venture, but it felt like a selfish self-promotion, for Panahi. He talks more about his previous movies and his problems, more than anything else in the film. While, his action to film, himself is brave; it felt like, it's not that strong of a statement. His punishment isn't that harsh, compare to other people, who did far, little, against the government. He doesn't rant in the film about the cruelty of the government or how other people got it worst. It felt like a 'look, at what they are doing to me, please solve it' vanity project, than anything else. This is so unlike, his previous works, which gave a voice to the voiceless. Overall: Portraying a normal typical day of his life isn't as strong, as showing how other people freedoms are being trampled on. It's still a must-watch, but the movie could had better.

If you love film you must see this. This movie makes the case for, not only the importance of film, but the importance of expression. All I have done with my life is watch movies. As time went on films started to lose euphoric passion, to me. Then as I browsed the library shelves my eye caught the title of this movie, I was intrigued. So I took it home and without a pause I just sat down and watched it. I had homework and a seven page essay on East of Eden the next day but those came second when the film grabbed me by the arm and pulled me into a place, emotionally, deeper than I had ever been before. This was the film that rekindled the love affair I had with film, and has been a driving force in my life. When I talk to anyone about movies I always recommend this film.

Jafar Panahi: "If we could tell a film, then why make a film?"My interest in Iranian cinema started with Dayereh (2000) by Jafar Panahi and since then I've watched a few other Iranian films of which most are directed by him. I remember after the first film I saw, I read about him on Wikipedia and read about his sentence and ban from film making. It is quite shocking and this gives more sense to this documentary which would have never been seen if it hadn't been smuggled out of Iran on a USB stick.In film nist starts with Jafar Panahi having breakfast over the course of breakfast he calls a friend, Iranian documentary director Mojtaba Mirtahmasb asking him to come over. The only link we have with the outside world is through his phone. Before his friend comes Jafar has a phone call with his lawyer who confirms that he will definitely have to go to prison and that she may try to reduce the ban duration on appeal but it's probably all she can do. She tells him that it is not a judiciary sentence but a political one. When his friend arrives, Jafar Panahi explains the last films he wanted to do and how they were both denied approval and had to let them go. He has the script of one and decides that he can explain it, using his living room, the carpet representing the room in which a girl is- also- imprisoned and a chair for the window.This is not a film is exactly what the title says it is. It is a day, a documentary at most. Most of Jafar Panahi movies give a lot of freedom to (amateur) actors who creates the whole atmosphere. It seems clear that this was not planned either, this has no script or no particular goal except to have a camera there, to document whatever could be documented before it's too late.The setting is also particular as the whole town goes crazy over the celebrations of "Fireworks Wednesday" and the two friends stay inside, wondering what to do and how to do it. It gets particularly strange when Jafar Panahi starts recording with his mobile phone, filming the act of being filmed. I think the highest point of this film being not a film, is when Jafar Panahi explains the story of this film he was going to make and in the middle of replaying it... He suddenly becomes silent and his face tells us that he has strong doubts and this is where the quote I picked is said, he doubts the whole concept of a film, of telling a story and if it is a story worth telling. It might be reduced to the film he was discussing in particular, however, I would think that it goes beyond that, that it touches every film he's done including this one.A lot of the issues are not entirely discussed, maybe as a way to retain dignity in the face of a sentence or simply because they are not thought out to be relevant. These very blunt, almost political and philosophical moments contrast with the comical aspect of his iguana pet slowly climbing a bookshelf or the neighbor who tries to leave her dog with him before he simply starts barking. It is also strongly incidental as when a young arts student walk in to come and pick the trash, a job he does to help out his sister and brother-in-law, suddenly the story focuses on him and as he goes on to pick up the trash, we follow him. In a way, isn't that what movies always tried to do, follow the strange happenings of life?I liked: It doesn't get much more explicitly banned film, well this is not a film.I disliked: Very random in a bumpy unscripted way.70/100 If you are looking for a deep political look in the situation of Iran's cinema industry and its struggle then you won't find it. This is a purely individual look at what it is to be a forbidden film maker.Read more reviews at: www.theordinaryreview.blogspot.com