Bahram, a forty-something director who makes controversial films, finds himself once again banned from screening his latest film by the authorities. He tries to find a solution by traveling on a pink motorbike with his young, colorful-haired producer. Finding a venue to screen his work won't be easy. Everyone fears the authorities' scrutiny and wants to avoid trouble.
"In the panorama of Iranian cinema, Divine Comedy is a work less allegorical than Kiarostami's, less frontal than Panahi's, but more explicitly urban, contemporary, immersed in the present. It's a film about cinema, but above all it's about those who stay, those who don't emigrate, those who continue to deal with a system that wants to exhaust them. In the end, that pink Vespa doesn't take Bahram anywhere. Or maybe it does: it takes him exactly where he belongs, inside a film that exists despite everything. Divine Comedy is a comedy about everyday resistance, about humor as a survival strategy, about cinema as an act of secular faith. And precisely for this reason, today, making this film is one of the strongest political gestures that cinema itself can afford". (Benedetta Bragadini)
