Reception
Siddhant Adlakha of Variety wrote, "With quiet, lengthy stretches interspersed with popular African and Middle Eastern songs, Anywhere Anytime creates a soundtrack to immigrant labor, with space for thought, anxiety and reflection broken up by vivid cultural memories. This is perhaps the movie's most unique aesthetic flourish, though perhaps its only notable one. It's never ugly to look at — Giuseppe Maio’s cinematography makes Turin feel as vivid and alive as any of the movie's characters — though it doesn’t necessarily innovate beyond this acoustic showcase, the way Bicycle Thieves left an impression with its novel naturalism." [6]
Jonathan Holland of Screen Daily called the film "a truly worthy successor of, and not just a homage to, the [Vittorio] de Sica classic that is always looking over its shoulder". [7]
Writing for The Asian Cut, Paul Enicola commended the director for drawing "inspiration from the Neorealist movement both in Italian and Iranian cinema," likening Tangshir's direction to that of Abbas Kiarostami and Majid Majidi. Ultimately, Enicola adds, "Anywhere Anytime manages to explore the sense of fear and constant anxiety of those who, like Issa, live in the cracks of society – largely invisible and extremely vulnerable." [8]
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