The Report

Plot

The Report follows a diligent tax collector who finds himself accused of accepting bribes while simultaneously navigating mounting tensions at home. As he faces an investigation into his professional conduct, the protagonist must defend his integrity against corruption allegations while dealing with his wife's dissatisfaction and family pressures. The film meticulously documents his bureaucratic struggles within the Iranian tax system, showing how he meticulously prepares his defense and gathers evidence to prove his innocence. Meanwhile, his domestic life unravels as his wife threatens to leave him, creating a parallel crisis that tests his character and resolve. The narrative culminates in a powerful exploration of institutional corruption and personal integrity, set against the backdrop of 1970s Iranian society on the brink of revolution.

Historical Background

The Report was produced in 1977, just two years before the Iranian Revolution of 1979 that would dramatically transform Iranian society and cinema. This period represented the height of the Iranian New Wave movement, which was challenging both commercial cinema conventions and government restrictions. The film emerged during the reign of Mohammad Reza Pahlavi, when Iran was experiencing rapid modernization but also growing social unrest. The bureaucracy depicted in the film reflected the widespread corruption and inefficiency that many Iranians blamed on the Shah's regime. Cinema in Iran at this time was heavily state-controlled through the Ministry of Culture and Arts, yet filmmakers like Kiarostami found ways to embed social criticism within seemingly straightforward narratives. The film's focus on an ordinary government employee's struggle against systemic corruption resonated with growing public discontent. Its release just before the revolution gave it particular significance as a document of the final years of the Pahlavi era. The film's limited initial distribution and subsequent banning reflected the increasing tension between artistic expression and political control in pre-revolutionary Iran.

Making Of

The production of The Report exemplified Kiarostami's emerging filmmaking philosophy that would later define his career. Working with extremely limited resources, Kiarostami chose to shoot in real government buildings rather than constructing sets, lending the film an authentic documentary quality. The casting process was unconventional - Kiarostami often found his actors in everyday situations rather than through traditional casting calls. Shohreh Aghdashloo was discovered while working at a theater company, while many supporting roles were filled by actual tax office employees. The film was shot quickly over a period of several weeks, with Kiarostami encouraging improvisation within his structured framework. The director faced significant challenges from government censors who demanded changes to the script, particularly scenes that portrayed bureaucracy in a negative light. Kiarostami resisted these changes, resulting in the film's limited initial release. The cinematography was handled by a small crew using portable equipment, allowing for intimate, observational camera work that would become a hallmark of Kiarostami's style.

Visual Style

The Report's cinematography, handled by Ahmad Amini, exemplifies the documentary aesthetic that would become central to Kiarostami's work. Shot in black and white, the film uses natural lighting and real locations to create an authentic, observational quality. The camera work is restrained and patient, often holding shots longer than conventional narrative cinema to allow for contemplation and observation. The cinematography emphasizes the institutional spaces of government buildings, using their architecture to comment on the dehumanizing nature of bureaucracy. Close-ups are used sparingly but effectively to capture the emotional states of characters, particularly the protagonist's internal struggles. The film employs a mixture of static shots and subtle camera movements that mirror its documentary influences. The black and white photography enhances the film's moral ambiguity and adds to its timeless quality. The visual style avoids dramatic lighting in favor of a more naturalistic approach that reinforces the film's realism. The cinematography also incorporates elements of Iranian visual culture, including careful attention to composition and the use of architectural spaces as narrative elements.

Innovations

The Report achieved several technical innovations that would influence Iranian cinema and Kiarostami's subsequent work. The film pioneered the use of non-professional actors alongside professional performers, creating a naturalistic blend that became characteristic of Iranian New Wave cinema. Its documentary-style narrative structure, blending fictional story with real locations and people, represented an innovative approach to filmmaking in Iran. The technical team developed methods for shooting in actual government buildings with minimal disruption to daily operations, requiring innovative lighting and sound recording techniques. The film's editing style, which favored longer takes and observational pacing, challenged conventional narrative cinema techniques in Iran. The production team created new approaches to working with limited resources, developing cost-effective methods for achieving professional quality results. The film's restoration in the 1990s also represented a technical achievement in preserving and remastering Iranian cinema from this period. The sound recording techniques developed for capturing authentic office environments influenced subsequent Iranian films dealing with institutional settings. The cinematography innovations in using available light and real spaces without sacrificing visual quality set new standards for low-budget filmmaking in Iran.

Music

The Report features a minimalist soundtrack that reflects Kiarostami's preference for naturalistic audio over dramatic scoring. The film primarily uses diegetic sounds - the ambient noises of offices, streets, and homes - to create an authentic atmosphere. Traditional Iranian music appears sparingly, often in background scenes to establish cultural context rather than to manipulate emotions. The sound design emphasizes the bureaucratic environment through the careful recording of office sounds - typewriters, telephones, footsteps on tile floors - which become part of the film's commentary on institutional life. Silence is used strategically to create tension and highlight moments of moral decision-making. The limited use of non-diegetic music, when it does appear, is subtle and understated, never overwhelming the naturalistic soundscape. The audio approach reinforces the film's documentary aesthetic and its focus on realism. The sound mixing pays careful attention to the acoustic qualities of different spaces, from the echoing halls of government buildings to the intimate sounds of domestic life. This careful attention to audio detail helps create the immersive, observational quality that characterizes Kiarostami's early work.

Memorable Scenes

• The opening sequence showing the tax collector meticulously organizing his office, establishing his character's attention to detail and order
• The tense confrontation scene in the tax office where the protagonist is formally accused of accepting bribes
• The domestic argument between the tax collector and his wife that reveals the depth of their marital problems
• The silent scene where the protagonist walks through empty government corridors at night, symbolizing his isolation
• The final courtroom-like scene where he presents his evidence and defends his integrity
• The moment when he discovers the actual evidence that exonerates him but implicates his colleagues
• The closing scene showing him returning to his desk, changed by his ordeal but maintaining his principles

What Critics Said

Upon its limited initial release, The Report received mixed reviews from Iranian critics, with some praising its bold social commentary while others found it too critical of government institutions. International critics who discovered the film during its festival run were more enthusiastic, recognizing it as an important work from an emerging master. After Kiarostami's international breakthrough in the 1990s, critics revisited The Report and hailed it as a precursor to his later masterpieces. Roger Ebert and other prominent critics praised the film's humanistic approach and its blend of documentary realism with narrative drama. French critics at Cahiers du Cinéma particularly appreciated the film's aesthetic innovations and its subtle social critique. Contemporary critics view The Report as an essential work for understanding Kiarostami's development as a filmmaker and the evolution of Iranian cinema. The film is now widely regarded as a classic of world cinema, with particular appreciation for its moral complexity and its innovative approach to storytelling. Many critics note how the film anticipates themes and techniques that Kiarostami would later perfect in films like Close-Up and A Taste of Cherry.

What Audiences Thought

The Report initially reached a limited Iranian audience due to its controversial subject matter and subsequent banning by government authorities. However, among those who saw it during its brief theatrical run, the film resonated deeply, particularly with educated urban audiences who recognized its critique of bureaucratic corruption. The film's protagonist struck a chord with viewers who identified with his struggle to maintain integrity in a flawed system. After the Iranian Revolution, the film gained renewed appreciation as a document of pre-revolutionary society and its problems. International audiences discovered the film through festival screenings and retrospectives in the 1980s and 1990s, responding to its universal themes and humanistic approach. Home video releases and streaming platforms have made the film more accessible to contemporary audiences, who continue to find relevance in its exploration of personal and professional ethics. The film has developed a cult following among cinema enthusiasts and Kiarostami scholars, who view it as essential viewing for understanding the director's artistic evolution. Iranian diaspora communities have particularly embraced the film as a representation of their cultural heritage and social history.

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