A fresh perspective on Tehran: Shahab Fotouhi’s “Boomerang”
A surprising debut from an unexpected voice
Shahab Fotouhi’s debut feature, Boomerang, offers a delightful and surprising portrait of modern Iran. What makes this film particularly intriguing is that Fotouhi, despite being in his forties, brings a fresh and under-heard voice to the cinematic landscape. Through loosely connected stories, non-sequiturs, and even a touch of magical realism, Fotouhi captures the vibrant essence of metropolitan Tehran during a moment of generational transition.
Generational struggles and shifting tides
Fotouhi’s upbringing in the post-Iranian revolution era is evident in his storytelling. Several characters in Boomerang are middle-aged, grappling with outdated modes of thinking and interacting. However, the film’s core lies in its female characters: a mother, Sima (Leili Rashidi), and her teenage daughter, Minoo (Yas Farkhondeh). Although they seldom interact on screen, their overlapping stories reflect the country’s evolving social landscape.
A tale of two relationships
The film opens in a rom-com style, with Minoo locking eyes with a young, handsome stranger, Keyvan (Ali Hanafian), across the street. Their wordless flirtation as they wait for the traffic light to change is sweet and exciting. Meanwhile, Sima returns home to find her husband, Behzad (Arash Naimian), eavesdropping on their neighbors’ lovemaking. Unlike Minoo’s budding romance, Sima and Behzad’s marriage is on the brink of collapse. Behzad secretly tries to orchestrate a meeting with his ex, while Sima’s dissatisfaction with him makes divorce seem inevitable.
Intriguing narrative structure
Boomerang is far from straightforward in its social explorations. The film’s narrative framework is broad, with each duo receiving ample screen time. However, the scenes often feel more like vignettes than parts of a sequential story. Fotouhi and Faraz Fesharaki’s camera lingers on spaces long after characters have left, introducing new scenes through lengthy pans and tilts that focus on mundane city architecture. This wistful approach, combined with Panagiotis Mina’s quirky electronic score, adds an almost magical quality to the film.
Conversations that transcend words
Boomerang is a film of conversations, but the words often take a backseat to Fotouhi’s observations. The way scenes end or begin is more telling. Behzad, for instance, never feels sure of himself, much like the other middle-aged or older men in the film. At one point, he takes pride in the quince jam he prepares, leading to a particularly funny and imaginative gag.
A reclamation of public spaces
Fotouhi also captures young women and girls entering scenes in the middle, “intruding” as it were, though all they’re really doing is laughing and hanging out in public spaces. This small but meaningful reclamation is significant in the wake of Iran’s recent social movements. The only head coverings they wear are hoods, bandanas, and winter ski caps, and Minoo even sports green highlights in her hair.
A political yet leisurely portrait
While not overtly confrontational, Boomerang is thoroughly political in its presentation of Tehran’s leisurely moments. The film includes a minor queer character discussing his love life, adding to its multifaceted portrait of the city and its youth. This approach is a far cry from the more structured and serious-minded “New Wave” films that typically travel westward, making Fotouhi’s film feel revitalizing.
For those interested in exploring this unique cinematic experience, you can watch the trailer for Boomerang.
Final thoughts
Boomerang is a refreshing and insightful film that captures the essence of modern Tehran through a series of loosely connected stories and characters. Fotouhi’s unique voice and innovative storytelling make this debut feature a must-watch for cinema enthusiasts. The film’s political undertones and portrayal of generational struggles add depth to its narrative, making it a compelling and thought-provoking piece of cinema.