Iranian filmmaker Shahram Mokri has transformed the Möbius strip into a cinematic form of its own, extending beyond the familiar framework of time loop narratives. Following his 2020 feature Careless Crime, Mokri returns with another intricately constructed film, Black Rabbit, White Rabbit. Moving away from the overt political undercurrents of his earlier works, this new film expands his exploration of cinema’s self-reflective potential, positioning itself as a layered, meta-puzzle of narrative and form. Black Rabbit, White Rabbit opens deceptively as a domestic drama centered on Sara (Hasti Mohammaï), her body wrapped in bandages after a car accident, and her withdrawn, volatile husband. As Sara wanders through their spacious home, a series of strange and disjointed events unfold. Yet, as is characteristic of Mokri, the story...
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