Why do the Iranians have such an innate grasp of how to do cinema? It’s a question, which, knowing so little about their culture, I cannot answer, but it’s a curiosity that Iranian directors of various generations are able to construct films which feel well nigh perfect. Dressage is that latest of these, a tale of a girl, Golsa, living in a provincial town, who effectively goes rogue. Interestingly, it’s not set in Tehran, but in a small town. We’re a long way from Farhadi. Golsa starts the film hanging out with a group of spoilt teenagers who get their kicks out of robbing shops. However, their escapade goes wrong when they realise they haven’t removed the video recording of the theft captured by the store’s CCTV, and they bully Golsa into going to fetch it. She then hides the video tape, refusing to return it. What she wants in exchange for the tape seems increasingly unclear. She finds herself in conflict with the friends, with her family, even with the stable where she helps out and develops a strong affection for one of the horses. The film allows the director, Pooya Badkoobeh, to show us various strands of Iranian life. The narrative touches on local corruption, class division, and in a telling sequence, the maltreatment of an Afghan immigrant. Through all this, Golsa, brilliantly portrayed by Negar Moghaddam, seems to be waging a lone battle against the inevitable injustice not just of society but the very condition of being alive. Her battle is always understated, carefully constructed, with low-key twists coming thick and fast, building the tension. Beside the fact it’s beautifully filmed, acted, and conceived, this is also a superb example of how to conjure a compelling script from the most minimal of ingredients. Dressage is Pooya Badkoobeh’s first feature, and one waits expectantly to see what he does next.
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