Pir Pesar

I go to the cinema maybe once a year to see an Iranian movie -based on the comments and suggestions from my friends and colleagues- and most of the time, I went out of the cinema satisfied enough for the time I've spent for that; this time... Not at all! It was 3+ hour total waste of time including ridiculous dialogues and unbelievably bad acting even from good actors, thanks to the bad directing I guess! The music and sound effects was so bad we joked that they don't have any auditory sense at all! And too many flaws in the storyline! Many nonsense dialogues that do not even follow the logic of the story itself.

The thing is, Iranian cinema is very thirsty for taboo topics thanks to the religious regime and the heavy censorships in the country, and once a movie touched one of those taboos, the movie gets too many credits, even with a rubbish directing and production, and I do not understand why such weak movies receives international prizes! Maybe the jury committee should forget about the name of the country while watching the movie and score it based on the artistic values, not the political ones.

I stayed with the film until the end. As we were leaving the cinema, most people seemed to be praising it. But I couldn't shake the feeling that something was off-I wasn't satisfied. I asked myself: beyond all its claims, what kind of experience did this film actually give me?

Pirpesar, directed by Oktay Baraheni, is a long film that manages to keep the viewer engaged-not through the strength of its storytelling, but by relying on familiar cinematic devices like romantic rivalry and erotic suggestion that cleverly manipulate the audience's attention. The film tries to appear profound and impactful, but the message it claims to carry is no more compelling than its flawed narrative execution.

Much of the film is weighed down by unnecessary and poorly constructed scenes, and several performances are noticeably weak. The director's limited understanding of key characters results in portrayals that feel shallow or misguided. The film's conceptual contradictions do not stem from its literary references-such as The Brothers Karamazov or Shahnameh-but from weak authorship and a lack of narrative coherence. While one or two actors do shine, overall this is not a successful film. It's a work that, more than anything else, seems crafted to satisfy the pseudo-intellectual viewer who's looking for symbolic depth where little truly exists.

I've never seen an Iranian movie like The old Bracher in my whole cinematic life. Even I watched Maybe all of Iranian movies but there is nothing like this. That was spectacular. Absolute Cinema. I recommend it to the world as an amazing experiment. You won't blink while watching. It has unforgeable scenario, mind blowing actors such as Mr Poorshirazi.the music has feeling. It's related to the contain scene the movie doesn't have any additional or annoying scene.althiu It has only three location and the most of the movie is just in one. I haven't seen anything except Cinema, interest and goods. Watch it in Cinema.

Loneliness and the struggle to maintain a relationship are concepts that are intensely highlighted in Pirpesar (The Old Bachelor). Oktay Baraheni's film, with a deep and dramatic gaze into a patriarchal Iranian family, attempts to depict the psychological and social complexities of its members. In this family, where the father's authoritarian dominance overshadows all relationships, the characters grapple not only with external pressures but also with their own internal conflicts. Baraheni skillfully portrays the clash between two generations and two opposing mindsets-one firmly rooted in old traditions and the other striving for change and an independent identity in the modern world. Beneath these generational conflicts, the despair and struggle to preserve family bonds under harsh circumstances are vividly portrayed, where every movement and word of the characters seem to echo an internal battle for peace and balance in a male-dominated world.

The father, played masterfully by Hassan Pourshirazi, is the embodiment of a patriarchal system whose dominance extends beyond the social sphere into the psychological and emotional realms of his family. While maintaining an outward display of authority, this tyrannical father wrestles with internal crises and contradictions, which the film gradually unveils. His character reveals that those who appear powerful on the surface may be plagued by deep psychological wounds and struggles. Though he controls his family with absolute authority, he represents an older generation whose dominance seems unshakable. However, the screenplay skillfully dismantles this authority, gradually passing the power down to the next generation-his children.

And then there is Hamed Behdad-an actor who, with his exceptional command of body language and dialogue, precisely conveys the shadow of patriarchal oppression hanging over the next generation. His character struggles to overcome his father's authoritarian rule, and through his outstanding performance, free of any unnecessary dialogue or exaggeration, he captures the profound emotional turmoil of his character with just his gaze. His eyes become the unspoken language of his character, conveying love, respect, defeat, and authority with silent intensity. Through his mastery of acting in silence, Behdad crafts moments where words become irrelevant, and only the raw emotions and internal struggles of his character remain visible. He compellingly portrays the psychological conflicts of a man caught in the crises of life-conflicts that every Pirpesar (The Old Bachelor). (elder son) must face: societal pressures, submission, and the fight to preserve his identity and place in the world. His performance not only reveals the essence of his character but also humanizes the struggle against oppression and inner doubts in a deeply tangible way.

Mohammad ValiZadegan, playing the younger brother, serves as Behdad's counterpart. He represents a generation torn between tradition and familial pressures, searching for freedom and personal identity. In his portrayal, the conflict between youthful rebellion and submission to his father's dominance is evident. He continuously seeks his own path in a world ruled by his father, and this internal struggle is reflected in his every move and word.

Among these powerful performances, Leila Hatami delivers a striking presence. Her character appears elegant and composed on the surface but harbors profound disappointment and disillusionment within. She is a woman caught between submission and resistance against male dominance and societal pressures. Hatami's character serves as a mirror to the condition of women in a patriarchal society-women who cannot effectively make their voices heard against oppression. She embodies the deep despair and frustration of women in such environments, bringing a poignant portrayal of gender inequality and societal limitations to the silver screen.

The old house, used as the film's primary setting, symbolically reflects the decaying layers of a patriarchal society. A crumbling home that mirrors the state of the family within it-filled with remnants of the mother who is no longer present, scattered bottles, and cigarette butts, all signaling collapse. The dim lighting and framing help the audience grasp the suffocating reality of the household. Though the balance of this deteriorating home is repeatedly disrupted throughout the film, the writer does not allow it to completely fall apart. Instead, the filmmaker leaves the audience to ponder: should this house be completely destroyed, or should it remain partially standing?

While Pirpesar (The Old Bachelor) tells a local and family-oriented story, it also addresses deeper, universal themes such as dominance, gender inequality, and generational conflict. With its powerful performances and psychological depth, the film has gained international recognition at film festivals. Despite its culturally specific narrative, it successfully conveys universally human themes in a manner accessible to diverse audiences worldwide. This quality sets it apart from many similar works and secures its success on a global scale.

Baraheni takes the audience to the edge of an abyss but ensures they do not fall. He awakens buried pain and resentment before their eyes, skillfully avoiding excessive dialogue while bringing unspoken truths to light.

Pirpesar(The Old Bachelor) is a three-hour invitation to reflect on both internal and external struggles in a patriarchal and oppressive world-a world teetering on the brink of collapse with every passing moment.

The Old Bachelor is one of those rare films that dares to be honest. It doesn't shout or preach-it simply presents. The relationship that slowly forms between the characters played by Leila Hatami and Hamed Behdad may feel natural, even ordinary, in real life, but within the narrow confines of Iranian cinema, it feels fresh, bold, and quietly subversive.

Leila Hatami delivers a subtle, layered performance-once again showing how a female character can be portrayed with depth and nuance, without melodrama or overstatement. She plays a tired, complex, emotionally wounded woman whose silences carry meaning and weight.

Opposite her, Hamed Behdad brings a restless energy to the screen. His character, impulsive and raw, becomes the perfect counterbalance to Hatami's restraint. What emerges between them is not a typical love story, but a human connection that grows out of shared loneliness and mutual understanding-a kind of emotional recognition more than romance.

Meanwhile, Hassan Pourshirazi grounds the film with a deeply lived-in performance. He doesn't so much play the role as inhabit it. His quiet presence and expressive stillness lend the story an earthy authenticity.

The Old Bachelor tells a story that, in the real world, might pass unnoticed. But in Iranian cinema-often limited by censorship and symbolic overcomplication-this kind of direct, emotionally honest narrative feels both unusual and necessary. That contrast is what makes the film so compelling.