
Rosewater is based on The New York Times best-selling memoir "Then They Came for Me: A Family‘s Story of Love, Captivity, and Survival," written by Maziar Bahari. The film marks the directorial debut of "The Daily Show" host Jon Stewart, and stars Gael Garcia Bernal. Rosewater follows the Tehran-born Bahari, a broadcast journalist with Canadian citizenship. In June 2009, Bahari returned to Iran to interview Mir-Hossein Mousavi, who was the prime challenger to president Mahmoud Ahmadinejad. As Mousavi‘s supporters rose up to protest Ahmadinejad‘s victory declaration hours before the polls closed, Bahari endured personal risk by sending footage of the street riots to the BBC. Bahari was arrested by police, led by a man identifying himself only as "Rosewater," who tortured and interrogated him over the next 118 days. With Bahari‘s wife leading an international campaign to have her husband freed, and Western media outlets keeping the story alive, Iranian authorities released Bahari on $300,000 bail and the promise he would act as a spy for the government. (C) Open Road Films.
About Rosewater
Artist : Gael Garcia Bernal, Kim Bodnia, Haluk Bilginer, Shohreh Aghdashloo, Golshifteh FarahaniAs : Maziar Bahari, Rosewater, Baba Akbar, Moloojoon,
Title : Voir Rosewater Film Complet
Release date : 2014-11-14
Movie Code : 2752688
Duration : 103
Category : Drama
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Comment For Rosewater Cinemar

A clear-headed, sensitive and thoroughly impressive directorial debut for the Comedy Central host.

In outline, Rosewater sounds earnest, one-note, relentless - something you'd watch out of a sense of duty. But it turns out to be a sly, layered work, charged with dark wit along with horror.

A finely wrought, powerful drama that tells the true story of an Iranian-born journalist's imprisonment and torture by the Islamic regime in Iran.

Rosewater, starring the geeky-charismatic Gael Garcia Bernal as Bahari, is a gripping drama, smartly calibrated for Western audiences who still need an education in the bright, progressive, fight-back impulses in Iranian culture.

Stewart's enthusiasm for his story and passion about injustice ring clear, but throughout what could have been a dreadfully somber film, he remembers to breathe.

With Rosewater, Stewart proves he can pull back from the satirical comedy and become a thoughtful, incisive and questioning filmmaker.

Though at times Rosewater is clearly the work of a first-timer still finding his voice, Stewart is indisputably a real filmmaker.

That the movie is as tense and chilling as it is owes much to first-time director Jon Stewart's keen eye for the way humor surfaces even in the dark places.

The film goes slightly beyond rigorous earnestness and settles into a kind of stubborn atonement.

Stewart does a solid job of handling the facts of the time; it feels true to the moment, like a filmed Newsweek story. Creative acting, dramatizedthemes, gifted cinematic styling? Not so much.

The film settles into the kind of sobriety you've seen too often .

While the film keeps telling us that Bahari survived his ordeal by freeing his mind from imprisonment and eventually outsmarting his rosewater-scented interrogator, we are told that he's doing so more than we're seeing it.

Stewart proves to be an able filmmaker in "Rosewater." But he also shows hints of being something more.

"Rosewater" is a reminder that America may have its critics, but at least there's little danger of the average citizen being arrested for appearing on a fake news show.

Rosewater certainly has merit as an act of atonement on Stewart's part and a tribute to people like Bahari. In the end, however, the movie needs to stand on its own, apart from its noble intentions and the popularity of its writer-director.

A solid, powerfully acted political drama about human endurance in the face of ideological oppression.

Stewart does a credible job of maintaining the story's immediacy, but I must say I felt relieved that the film wasn't a masterpiece. If it was, we'd have more reason to fear Stewart will leave The Daily Show.

The hard-focus clarity of the images (Bobby Bukowski did the cinematography) leads to an intimacy with anguish that passes into expressionism.

The main question Rosewater grapples with is whether Stewart can hack it as a filmmaker. The answer: sort of?

A persuasive production despite its limited budget .

While it may seem like another triumph-over-adversity tale, the movie is really about what sustains us during impossible moments.

Stewart acquits himself solidly, though not thrillingly, as a beginning director .

What makes "Rosewater" different from similar entries in what might be called the Triumph of the Imprisoned Spirit genre is that the hero is hardly an ideologue, despite having sympathy for the Iranian reformers and the Green party.

Mr. Stewart's interest in the material is obviously personal, but his movie transcends mere self-interest.

"Rosewater" marks the debut of a director whose brains and guts are the equal or the better of his eye and heart .

Centrist mush-basic, boilerplate human-interest stuff that's too shapeless to completely work as drama, and too depoliticized to be taken seriously as anything else.

The result neither portrays the suffering of Bahari's incarceration adequately nor lampoons the absurdities of the situation.

Stewart has created an informative, dark and witty story imbued with black humor surrounding Bahari's confinement.

Rosewater . has an urgency that's all about the storytelling smarts of its first-time writer-director.

Stewart lets the truth roll out, the best he can, believing in the sanitizing effect of sunlight and the inevitable fate that awaits all despots.

"Rosewater" doesn't hector, nor does it giggle about the issue of press freedom. It's an impressive and important piece of storytelling.

For a first effort, Stewart hasn't done a bad job. There's just the nagging feeling with "Rosewater" that a better movie was possible.

The virtue of this movie is its commitment to political ambiguity and emotional truth.

Rosewater is an earnest picture, but it's also got some juice - there's vitality and feeling in it, the secret ingredients so often missing from even the most well-intentioned first features.

Stewart can never quite answer the question: Why this man's story, of all the ones that should be told? And why now, five years later?

Jon Stewart's filmmaking debut "Rosewater" has much in common with "The Daily Show" - it's blaringly obvious, it's naive, it plays to the cheap seats and it's enamored with cheap jokes.

It's a movie made for people who prefer to take their politics while sitting on the couch.

Stewart's wryly observant qualities as a TV star serve him well in his feature film debut.

Earnest, well-acted, less than urgent, but more than a vanity project.

This is Jon Stewart's directorial debut; the talk show comedian has a handle on the material and conveys it clearly.

A strong, striking political drama.

Stewart and cinematographer Bobby Bukowski cover it all in a straightforward, watchable way, the performances are all sincere and solid and the situation is easy to respond to emotionally.
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