And Bulgakov had a central scene—and an absurdist metaphor—for his novel. He was probably the only one, however, to register how overwhelmingly funny, how comically and unwittingly absurd, that atheism was in its Soviet manifestations. And up to that pair—Mikhail Alexandrovich Berlioz and Ivan Nikolaevich Ponyrev—walks a visiting foreigner named Professor Woland who, with great charm and a saturnine sophistication, informs them that they are wrong.
In fact. And Woland politely concludes his conversation with a prediction that Berlioz will shortly lose his head in a streetcar accident. Meanwhile, Woland—the Mephistopheles of Moscow—has taken the city by storm, gathering his troop of demons, fallen angels, and curiosities to put on an elaborate magic show in one of the theaters that Bulgakov knew so well.
The lonely Margarita strips naked and flies on a broomstick across Russia. An empty suit goes to work in place of its dead owner. The burned manuscript of the book about Pilate returns to existence, and large portions of it are presented to the reader. In its way, The Master and Margarita is as complete an answer to atheism as literature has ever produced. The state founded on atheism is doomed: It may destroy belief in God, but that just opens more space for the Devil—whose existence proves the reality of the God the state thought it had eradicated.
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How did you buy your ticket? View All Photos Movie Info. Two Iranian agents go to extreme lengths to find a banned manuscript that details their government's failed attempt to murder 21 writers.
Mohammad Rasoulof. Nov 26, Mohammad Rasoulof Director. Mohammad Rasoulof Screenwriter. Mohammad Rasoulof Producer. View All Critic Reviews See Movies in Theaters. There are no approved quotes yet for this movie. Best Horror Movies. Worst Superhero Movies. Best Netflix Series and Shows.
Go back. Top credits Director Mohammad Rasoulof. See more at IMDbPro. Trailer Manuscripts Don't Burn. Photos Top cast Edit. Anonymous Khosrow as Khosrow. Anonymous Morteza as Morteza. Ali Nazarian Khosrow as Khosrow. Ramin Parham Kian as Kian. More like this. Storyline Edit. All those attached, except the director, must protect their identities in order to remain safe from state persecution.
This was a powerful, moving, disturbing film. If some of the camerawork is questionable, the intense performance from out lead actor, the compelling script, and the utter courage it took to make this film outweigh any less-than-polished technical issues. Yes, this is a film about Iran in the mid's. It is a striking criticism of the Iranian government and politics, of the silencing of intellectuals and discourse.
It speaks of fear and of courage, of desperation and resignation. It's about what a government will do to control their populace. How far it will go. It can be argued that political filmmaking in Iran is one of the bravest traditions of cinema on earth — the perilous act of critiquing a government that routinely silences such dissident voices through a mixture of imprisonments and executions. Filmmaker Jafar Panahi was arrested in for the creation of such films and sentenced to 6 years in prison and a year ban from filmmaking though this sentence was later softened due to international outcry.
An incredibly brave film, where Rasoulof drops the mythology and metaphor and just tells it like it is in Iran. That he's been sentenced to prison more than once by ther authorities is hardly surprising, given the picture he expertly paints here. Superb on every level - and that clothes peg and its use may be the coldest thing I'll see in cinema this year. Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps.
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