Khook

Iran's cinema needs more blockbusters like this. After ''A Dragon Arrives", Mani Haghighi did not disappoint and you could obviously see the evolution in his work, the Cinematography and a very vibrant and unique color palette is the most underrated thing about the movie which is amazing, the next thing is his motive to make it a good ''dark comedy'' which he could do brilliantly and it all connected.

Overall, it was very enjoyable.

One of the other reviewers seems to think the director starred in the film as the main actor, and spells the director's name wrong the entire time. It prompted me to log in and review this film from the perspective of someone who actually knows Iranian cinema.

It's refreshing and funny in a way that few internationally notable Iranian films are. The movie is centered around Hasan, a movie director trying to adjust to a new reality as his fame declines while banned from working. Meanwhile, a serial killer is targeting notable film directors and beheading them, carving the word "pig" onto their foreheads. Hasan is an overgrown mama's boy and deals with his increasing irrelevancy poorly, finding himself wishing he could be the target of this serial killer so he can feel important again.

The film speaks volumes about the current role of social media in Iran and the impact it has had on culture. Justice, common opinion, even fact is decided by a society which now lives online and is obsessed with false idols.

There are comedic and tense moments throughout the film, and you find yourself both rooting for and against the protagonist. I would definitely recommend this film to someone just barely getting into Iranian cinema. Definitely a good film to help dip your toes in.

Hey, just want to note my idea here, This movie refers to an important effect, about viral videos, tweeter #, ... in few words, "the people whom are not famous in real life, but they have too many people as viewers at social networks". These people sometimes make troubles, show small events like disasters, it is really very nice idea for screenplay. Vow awesome if comedy... Like few other films which made before, for example "the circle 2017" but it was not comedy... But Dear mani, i hope you success in your life, in writing, in directing. You have very good movies, which i was interested. Here it was not good, in cinema, viewers hardly sit and watch. We laughed. We screamed. But there is something in our mind which says "it is bad". Sorry but it is what i think. We are real people, we need to believe the screenplay, we need to live with the roles, we are viewers, unfortunately we failed. There were very good actors/actresses. But final result is not good. Best wishes...

Storyline was attractive ,and i can't stop movie till end.I enjoy it and i think most of the people would enjoy this movie. . It's too hard for Iranian movies to become popular unless they has been created by Asqhar Farhady 😕.So I wanna too use this opportunity and advertise them.Iran's cinema is not strong ,but we can find more than three good movie from each year,so watch Iranian movie too and describe them with some normal Hollywood movies in same genre and same year .😐

Khook (Pig) is not your typical serial killer thriller-it's a wickedly strange, delightfully absurd commentary on fame, censorship, and the fragile ego of the modern artist. Mani Haghighi crafts a genre-bending fable that dances between dark comedy, psychological drama, and political satire, all against the backdrop of contemporary Iranian cinema.

At the center of the madness is Hasan-a once-renowned filmmaker now banned from making movies-who watches helplessly as someone begins decapitating Iran's top directors... and not including him on the list. The insult is unbearable. The narcissism? Delicious.

Hasan Majuni is phenomenal in the lead role. His performance is both tragic and hilarious-a man so consumed with his own relevance that he can't decide whether he's relieved or offended to be spared by the killer. He's every aging artist caught between rage and resignation, and the film turns his insecurity into a deeply human, often absurdist unraveling.

Haghighi's visual style is bold, even playful, often veering into surrealism. Neon-lit dream sequences collide with sharp social commentary. The satire is biting but never cruel-more melancholic than mocking. It's a film that embraces contradictions: it is deeply Iranian yet universally relatable, deadly serious and completely ridiculous.

Khook doesn't just skewer vanity-it roasts it over a slow flame and asks us why we're all so afraid of being forgotten.