Although released in 2001 and greatly admired by many prominent film critics, Delbaran, directed by Iranian filmmaker Abolfazl Jalili, is not nearly as well known as other Iranian prize winners such as Abbas Kiarostami’s The Wind Will Carry Us (1999) or Mohsen Makhmalbaf’s Kandahar (2001) but deserves to be. The story focuses on Kaim, a fourteen-year-old war orphan trying to survive in a desolate Iranian village near the Afghanistan border. And the film is in the grand tradition of other renowned classics that feature child protagonists caught up in the madness of war such as Rene Clement’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962) and Elem Klimov’s Come and See (1985). The difference is that Delbaran is much more austere and understated than those better known masterworks.
In 1974 very few people outside of France knew anything about Philippe Garrel, an experimental filmmaker who had first attracted attention in Parisian film circles with his 1964 fifteen minute short, Les Enfants Desaccordes (1964). Decidedly non-commercial, Garrel’s abstract, often autobiographical ruminations on disenfranchised youth and the vagaries of romantic love appealed to a fringe group of European cinephiles. But Les Hautes Solitudes, which was first screened in Paris in December 1974, raised Garrel’s profile considerably due to the film’s cast which included model/actress/singer Nico (formerly of The Velvet Underground) and current companion of Garrel, French stage and screen star Laurent Terzieff, the stunning Tina Aumont (daughter of Maria Montez and Jean-Pierre Aumont and, most notably, American actress Jean Seberg, who had reinvented her screen career in France with Jean-Luc Godard’s Breathless (1960). Continue reading