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There's a poignant and telling scene where Panahi's assistant leads him to the dirt road to the border crossing, used by smugglers at night and urges him to escape. After they reached the hill, overlooking the lights of a Turkish border town in the distance. After receiving the signal, they can cross to Turkey. It's that easy. Panahi asks where the border is. His assistant tells him that he is standing on it. The camera tilts down to his feet and Panahi retracts like a turtle, down the hill to the direction where they just came from without saying a word.
No Bears confronts the perils of documenting the truth in an oppressive society. Beyond the theme of rural traditions vs. modern life, Panahi's film illustrates the underlying fear that is dividing people and making them hostile to each other. It also shows the limits of cinema as a truth telling medium, that things still go on after the camera stops rolling/recording. The film reminded me of the news of his fellow Iranian filmmaker, Mohammad Rasoulof's daring escape from the country to show his new film at this year's Cannes film festival, as he was sentenced to 8 years in prison and flogging by the Iranian government. No Bears’ two tragedies that Panahi witnesses in the film- the death of two people, even though they are fictionalized, they take on the new meaning, considering what the revered filmmaker is facing every day in the country that he still refuses to abandon.