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http://www.hollywoodreporter.com/hr/fil ... 8793.story
Perhaps the best -- and potentially the worst -- thing about "On the Path" is that it's based on an exceptionally clear-cut, well-developed, classic screenplay. There is no fancy camera work, but there are defined acts, coherent character arcs and an unambiguous central conflict, all of which make the film accessible and tightly controlled, but also perhaps a bit stodgy.
What saves it from these possible pitfalls are several things. First, the acting is top-notch and completely believable. Second, director Zbanic has a wonderful way of upgrading what could have been merely a TV film by capturing klix, idiosyncratic character details (for example, the mobile phone camera Luna plays with throughout, or when she jumps through the window of Amar's car to say goodbye). A third strong point is that the film has an uncommon depth that derives from tragedies that occurred during the war -- for example, the death of Luna's mother and the loss of the family home -- which go a long way toward explaining why most of the female survivors aren't too keen on being encased in a chador.
Most important, though, Zbanic is for the most part evenhanded in her approach. While the fundamentalists are seen through Luna's eyes as strange, nevertheless they are never portrayed as terrorists or crazy people. Amar looks a little foolish when he so quickly adopts their ways (no more sleeping with Luna before they get married; no more revealing clothes for her, etc.), but he also no longer drinks. He is at his most sanctimonious when he denounces Luna's grandparents for celebrating a holiday with alcohol.
Most subtly of all, Luna's supposedly wonderful life as a liberated secular woman doesn't look all that great when she's at a strobe-filled night club smoking, drinking, and passing out. Despite Zbanic's fairness, though, it's clear by the end that she does not believe the veil portends anything good for a Muslim woman.
