In fact, Amiro is the kind of urchin survivalist who can make you believe that deliverance through sheer motion - dashing along a beach, chasing down a train - is wholly possible. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the CDC and local health officials. The Times is committed to reviewing theatrical film releases during the COVID-19 pandemic. Gazing at the many cargo ships lining the hazy horizon, he energetically screams for their attention from shore, as if unaware of the potential to feel futility.
Though illiterate, he still buys aviation magazines, because if he isn’t running races with a pack of boys, or bicycling, or at a chain-link fence watching a plane taking off - so close! - the pictures offer plenty of dream fuel for escape.
In its sun-baked, poetic vignettes of hardship and exuberance, “The Runner” follows Amiro (Madjid Niroumand), a wiry, scrappy boy who lives alone in the upper deck of a beached tanker, scavenging garbage dumps and a well-littered surf for empty bottles to sell. Now restored to vivid, rollicking life, it’s being released again through Rialto, whose revival of “La Piscine” last year was similarly a back-in-theaters highlight.
An energetic depiction of a street kid’s constrictions and freedom drawn from Naderi’s own youth, it set the tone for so many Iranian classics centered on children, followed right behind by Abbas Kiarostami’s “Where Is the Friend’s House” and many others (“The White Balloon,” “Children of Heaven”). Iran-born filmmaker Amir Naderi’s 1984 film “The Runner” is a seminal work from the Iranian New Wave’s post-revolution period.
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