Larzanandeye charbi

The only reason I didn't give Fat Shaker a worse rating is that the actors were quite charismatic and good, not so much the actresses oddly. Otherwise, this was a few interesting images and a few points of sensation surrounded by a movie with no plot, no sustained dramatic tension of any sort and no real life to it.

So we watch a somewhat abusive disgusting man go through a drunken stupor for most of the film. He encounters some trouble, carts his deaf-mute son around and kidnaps some woman, sort of. Never mind that the film maker also catches a license plate in a shot that destroys the importance of the setting.

Too much shaky camera action, too many quirky "weird" elements that likely had some meaning to the filmmaker. It's sad to say that the only real impact the film had was in the final three minutes and I don't think I needed the whole previous set of sequences to get there. There is plenty of artistic film out there to experience without wasting your valuable 90 minutes or so on this. You've been warned.

It is not easy to sit through the film, but if you do, you'll remember the pictures long after you walk out of the cinema.

I watched the film in a Cine-eye screening in New York and recommend highly to art house movie lovers.

The ambiance of the film reminds of Eraser-head by David Lynch. The constant panting of the protagonist is like the continuous factory noise in Erasehead. There's an underlying current of life, a dark one nonetheless, that carries over these sounds. I am excited and inspired that an Iranian director was able to create a modern picture like this and am eager to watch his other works.

In an amateur manner, a movie was created for public viewing, the hardest part was to find the mental line for the achievement of what we expect from a movie. The dispersion and decentralization of the audience needed for what we describe the director's goal and the mission of the film seems to be the last priority. Perhaps the film did not plan at all for this. The presence of important actors in the film, each cinema encourages friendship to see the film, but the key question is: Is it enough? It is difficult to give a moderate score, but if we want to fairly depart from any line and the academic definition and relevance of the film, we can only have two peaks. One with the presence of Navid Mohammadzadeh in the role of police appearance and the other in the suicide of Levan in the pool showing all three mental illusions of a permanent man. The film also has irregularities in terms of imaging and editing, which can hardly be conceived for this form of structure or attribute it to a specific meaning. But you must see every movie, even moderate or bad, that ultimately leads to the definitions and characteristics of these outputs. With a general conclusion, it's only possible to imagine a postmodern structure for the film, so far as it is not being seen, it is a definite result, both in terms of paying and giving a question or, consequently, a satisfactory answer.

The worst film that I watched...It doesn't have any subject or concept