Orizzonti review - THE PRESIDENT by Mohsen Makhmalbaf

When a coupe d'etat takes place and anarchy follows, do you side with the careless leader of do you side with the dangerously hate fuelled revolutionaries. It matters little, in the end everyone seems to lose in The President by Moshen Makhmalbaf, from the 71st Venice Film Festival's Orizzonti section.

In the film's introduction, we meet the titular machiavellian president, who in order to impress his little nephew entertains him turning on and off the lights in the city, right after he signs a number of executions without batting an eye. A proud, stubborn bearded man, his stable grounds suddenly shake and quake as gunshots are hears in the night and people refuse to follow his order. Cut to him seeing his family flee the country via plane and him reluctantly keeping his little nephew by his side as he chooses to remain in his country and see off the vicious revolution. But on the drive back to his palace, things are already out of control and soon enough the glorious dictator finds himself an old man posing as a street musician with the little boy and improvised dancer.

Nevertheless, we soon realise that the same army that supports the revolution is the same that loyally followed his orders not too long ago. Not only that, but we soon realise that they are just as bad and commit evil deeds from gratitious and merciless executions to rape. Makhmalbaf in a twist of fate allows us to side with the ruthless leader as he becomes piteous and softens following a hopeless ideal that someone will eventually pick him up and he will once again rise to power.

Interesting to note the use of music in the film and in particular the element of the guitar - so easily identifiable with protest music. The entertaining paradox with the totalitarian is almost delightfully satirical. But music is also a means to temporary joy, an excuse for bonding between the two idealist factions which we, the audience are aware of while of course the characters are not. In addition to that, the filmmaker often chooses to end these moments abruptly with tragic sequences and rough accentuations.

The music, which is wonderful, gives the film an even more Eastern European film. The narrative on the other hand, feels influenced by Kurosawa and a little shakespearean. The wandering old man who once was king meeting different characters that curse him openly, most unable to recognise him and the open vastness of the landscape - rocky, desolate and poverty struck - mixes an air of epicness with a sense of timelessness that almost makes us forget the film takes place in modern times.

The problem remains, however, that despite the dictator becoming human and likeable as the film goes on and his affection for the kid who is suddenly thrown into chaos after a life of confort and luxury, we have no real reason to care for him deeply. Therefore, the audience becomes almost automatically the real president in this whole experience and sovreign in picking sides. Should the leader submit to a righteous execution and pay for his crimes or should he be granted another chance through escape and another ascension to power? In reference to the Shakespearean reference, that is the question.