“Desert Dancer” Deftly Blends Political and Personal Narratives

film review by Steven Woodruff


“Desert Dancer” which opened this Friday in New York and Los Angeles is part political thriller and part dance film. Set during the 2009 national elections in Iran it follows a close knit group of six student activists in Tehran whose lives strike glancing blows against the politically and socially repressive Islamic State. The screenplay by Jon Croker is based on the life story of Afshin Ghaffarian who galvanizes his friends into starting a clandestine dance company. Richard Raymond in an accomplished directorial debut deftly balances political and personal narratives as well as drawing out strong performances from a fine cast.

Desert Dancer with Ritchie and Pinto

Desert Dancer with Ritchie and Pinto

At the center of the story are Elaheh (Freida Pinto) and Afshin (Reece Ritchie). Both give affecting, emotional performances. Elaheh has already weathered enough loss to turn her into a heroin addict. Their love interest is woven into the story with beautiful understatement. The evolving friendships culminate in a rapturous dance sequence in the desert where Afshin has organized a performance for a small audience. Fearing repercussions from the state and continued harassment and beatings, it’s the only place where they can find the freedom they need to dance publicly. Former ballet dancer Marama Corlett also gives an excellent performance in her supporting role.

The cast with Akram Khan center left

The cast with AkramKhan center left

The dance sequences were choreographed by Akram Khan who has been associated with many crossover theatrical dance projects and who has his own contemporary company based in London. For the dance scenes with these untrained dancers Khan  finds just the right mix of naivete, awkwardness, and emotional fervor, but for the scope and sheer quantity of his contributions to the film he is unfairly listed in the film’s IMDb credits only as “other crew”.

The narrative develops using flashbacks which touch on the childhoods of both Eleheh and Afshin. The focal dance sequence in the desert is beautifully shot, enhanced by a lengthy  clandestine road trip that leads them from Teheran  deep into the desert. The true to life chaos and violence of a political street rally scene which focuses on a woman being beaten seems modeled on the widely publicized death of Neda Agha-Soltan who was shot by state supported militia during the 2009 election protests. The moving camera puts you uncomfortably on the edge of the brutality. The film concludes in Paris with another remarkable dance theater sequence shot with distorted close ups and rapid fire cutting. Afshin’s escape is finally both literal and figurative.

(Music by Benjamin Wallfisch, with cinematography  by Carlos Catalan. Ghaffarian is also listed in the writing credits. The film is in English.  “Desert Dancer” trailer.)

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