CAFÉ TRANSIT

Iran/France, 2004, 95 minutes, Colour.
Directed by Kambozia Partovi.

Café Transit is a fine Iranian film. It is set on the western side of Iran, as the roads lead into Turkey and into Europe. The film focuses on a woman who wants to reopen a café which was managed by her recently dead husband. When she decides this, she raises the anger and disapproval of her family who consider this inappropriate for a woman. She is discouraged from opening the café as well as people putting various physical and moral pressures on her. The chief of the opposition is her brother-in-law, the very conservative Nasser. He is played by Parviz Parastoei, one of Iran’s leading character actors who can give such diverse performances as the would-be mullah in The Lizard as well as the blind man in Weeping Willow. He is also motivated by wanting to take the woman as his second wife which custom allows.

Despite everything, the widow is a strong-minded and strong-spirited woman and makes a success of her café, employing offbeat characters in the staff who give her a great deal of support. She is also supported by a number of the truck drivers who pass by, several of them from eastern Europe, others from Holland and western European countries. There are also migrants on the road who seek the help of the truckies.

The film is strong on atmosphere, helping audiences to live in this part of Iran. It is also strong on values – and won the Best Film at the Bangladesh film festival as well as the Signis interfaith award in 2005 in Tehran.

Another feature of the film is its emphasis on local food – in the tradition of food movies like Big Night and Babette’s Feast as well as What’s Cooking.

1. The acclaim for the film, its awards? Values?

2. The Iranian industry, this film’s place in the industry, the human perspectives, feminist perspectives, religious perspectives? Its challenging of the traditions and the patriarchy?

3. The locations of the Turkish border, north-west Iran, the terrain, the mountains and the roads, the cars and the trucks passing by? The village, the homes? The café itself? Realistic atmosphere? Musical score?

4. The introduction, Zachari and his talking and memories of the café? On the crossroads in eastern Europe? The young woman, on the roads, in the cafés, her memories, her praise of Reyhan? The recapitulation of these sequences at the end? The impact of Reyhan on them? Their cherishing and celebrating their memories?

5. Nasser and his interview with the local authorities, his complaint about Reyhand, the importance of the codes of honour, the male chauvinism and patriarchy? His criticisms of Reyhan, her coming from the south and not understanding the traditions of the north? The tradition in which she had to marry him and he would care for her children? His building the home for her and the children? The house, his expectations, schooling for the children? The subordinate place of women? His character, age, his relationship with his brother, with his wife? The women in the household? His restaurant business? The elements of jealousy?

6. Reyhan, as a woman from the south, with her own traditions, leaving her land and loving and marrying her husband? Her becoming a widow, the closing of the restaurant? Her independent mind, her love for her children? At home, not wanting to move, listening to Nasser, defying his plans and his not understanding? Talking to the women in the family, their support? Her going away and leaving the older daughter, her return? The decision to reopen the restaurant?

7. The mourning crowd visiting the restaurant, the memories of Ismael? The closing, expectations that it would not be reopened, especially with Reyhan in charge?

8. Reyhan and her wanting to open the restaurant again, her shrewdness, her friendship with Oujan, relying on his help? Cleaning up, repainting? Nasser and his visits and watching? Karim and his watching – and his ultimate brutality, smashing the café, breaking Zachari’s leg?

9. The hard work, the preparation for the opening? The lack of clients, the eventual driver, the reputation of the food, it becoming a popular truck stop? Reyhan in the kitchen, relishing her work, the children and their waiting, washing up? Oujan and his managing? The satisfaction in the success of the café?

10. Zachari and his Greek background, truck driver, searching for his wife – and unwilling to face the truth that she had walked out on him? His idealising of her and her memory? Bringing his own food, disliking Iranian food? Reyhan’s reaction, cooking him a special meal, his being urged to taste it, his delight – and saying that it reminded him of his wife? His relationship with the other truck drivers? His courtesy to Reyhan? Love for the children? Bringing them toys?

11. The young girl, drunk, nineteen years old, wandering the roads, the death of her family, Russia? Her being hidden by Reyhan, helped and affirmed? Her staying, helping with the vegetables and the cooking? Wanting a lift – and prepared to prostitute herself? Her being hidden from the authorities? Her eventually having to go – but the impact of Reyhan and her devotion to her?

12. Nasser, his visits, his brooding, his lack of customers in his own restaurant, Karim’s brutality? Going to the authorities? The officials, the interviews, finally coming and locking the café?

13. The unrest at the borders? The truck drivers and their having to stay, the wait, Karim, the fight and his brutality, breaking Zachari’s leg? The later celebration and Zachari dancing, despite his leg?

14. Zachari and his offers to Reyhan, the possibility of a future for her? His love for her? Her refusal and her motivation? Not against him, but herself, the children?

15. Reyhan and the future, seeking for a job cooking elsewhere, the impact of the locking of the café? Her concern for her children, her wanting to be independent?

16. Nasser, his being defeated, the closure of the café? Yet his drinking and being frustrated?

17. The portrait of a good and strong woman, devoted to the memory of her husband, caring for her children, generous in providing for others, self-reliant? An ideal woman?