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"Tehran" has reached Apple TV Plus: what its critics abroad say about it

"What makes 'Tehran' interesting is the possibility of seeing how an Israeli production describes Iran";

"Writers often push the protagonist to stupid decisions for plot reasons";

"Realistic but warm approach" - this is what visitors abroad think of the Israeli hit series

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• Tehran - Series

• Sean Taub

• Here

• Apple TV Plus

• Moshe Sonder

Walla!

culture

Tuesday, 29 September 2020, 12:02

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Excerpt from the "Tehran" series of here 11 with the participation of Menashe Noy and Liraz Cherki (here 11)

Last Friday, Apple TV plus the first three episodes of "Tehran" aired, which allowed most of the world to be exposed to the Israeli series.

This of course also includes the critics, some of whom have already managed to write about it based on all eight episodes of the season.

The consensus: Despite the rumors, this is an interesting and suspenseful series, and Sean Taub steals the show in it.

Critic Daniel Dedrio of Variety gave her the most lukewarm critique: "As a TV show the series, created by Moshe Zonder (formerly the lead writer of 'Fauda'), is lacking: at least a few episodes that are too long, unreasonable or suspenseful, bloated when they want to be vigorous. (How can a spy series in which the protagonist is constantly trying new identities, down to the point of a fake beard clinging to poor Tamar, feel so full of hatred?) As a document of her moment, the feeling is that she is built to compliment modern American attitudes toward Iran, "Her threat is something that is not negotiable, and that is worth touching just to neutralize."

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90 good words about "Tehran", and another thousand bad words about the last episode of the season

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Even abroad the old man is not ignored. Niv Sultan, "Tehran" (screenshot here 11)

Inco Kang of the Hollywood Reporter wrote: "The full-twist debut season belongs in many ways to the character of Praz, who like so many of his countrymen had to become both a victim and a victim. Taub portrays his agent as a man whose instincts tend to be compassionate, but too often forced to swing. The Hammer fears he will fall on himself (Perez is also a character more consistently written than Tamar, which writers often push for silly decisions for plot reasons, especially in the worse middle episodes) [...] Almost every episode begins seconds after the end of the previous episode, 'Tehran' asks 'Never allow viewers to get up to catch their breath - an admirable goal that unfortunately also occasionally leads to monotony. Directed by Danny Sirkin, the production is cold yet full of humanity, and the many urban landscapes (filmed in Athens) are particularly appealing to their persuasion. "Tehran is a better tragedy than a thriller - and perhaps with deliberate intent."

Saloni Gejer at the AV Club wrote that "although she would have benefited from sharper writing and editing, 'Tehran' nevertheless succeeds in the daunting task of telling personal stories while looking at the long history of political tensions between two countries. It provides insight, clichéd as it may be. Tehran has a realistic but warm approach to presenting the aesthetics of the city in the series' name, going against most of the stereotypes associated with the Middle East, but perhaps its biggest contribution is to open a window to non-territory. It is relatively well-known to most American audiences. "

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"What will happen to the second season of 'Tehran'? I'm full of worries and anxieties"

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Does a wonderful job.

Sean Taub, "Tehran" (screenshot here 11)

In NPR, John Power wrote: "While the many twists make the series gripping, what makes it interesting is to see how an Israeli production depicts Iran. At first it seems that we may be dealing with a kind of geopolitical horror show. We watch Israeli tourists freak out. When due to a malfunction they are unexpectedly forced to replace a plane in Tehran, a place that was initially created to convey alienation and fear.However, the series soon becomes more complex.Theran clarifies that the institution is capable of unpleasant violence, and deliberately avoids rolling Iranians to monster level, making sure to distinguish between the people To his government. "

Dorothy Rabinowitz wrote in the Wall Street Journal: "As unlikely as it is as a spy story, 'Tehran' perpetuates the suspense throughout, perhaps because it is more about espionage. It is a tale that combines the drama of lost cultures and identities."

In the Decider, Joel Keller wrote that "it would not be unreasonable to say that 'Tehran' is definitely a beautiful-looking and well-played series. Niv Sultan excels in the role of the split Tamar, and Taub does a wonderful job in the role of Mali."

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Soon the series becomes more complex.

"Tehran" (screenshot here 11)

Even outside the United States, "Tehran" is praised.

In the British Telegraph, Ed Power wrote: "Part of the darkness is undoubtedly rooted in innovation. Iran's roughness, noise, heat flood the screen: the feeling is that Sonder is really taking you to a place you have never been."

He adds: "Sonder orchestrates the tension with an artist's hand, a thriller that is as stylish as it is breathtaking."

In the Indian Scroll.in, Odita Jongunwala wrote: "Tamar's decisions are sometimes dubious - she often lets her scarf slip, and she is impulsive and thus endangers others. But her confusion and inexperience also humanizes her, while facing a conscientious crisis And a clash between the personal and the professional. "

In the Indian Hindustan Times, Rohan Nahar wrote that "while the series, an Israeli production, is undoubtedly biased against the ayatollah regime, it also devotes considerable time to the personification of the men and women who serve it. They are just pawns, she implies, in a rather noble way."

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