Pig - Uma Comédia Matadora

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 .😐

While the script is amazing, the mighty acting of Hassan Majouni as the leading role is shining in almost every moment of the movie. And you barely see such good performance from Siamak Ansari (Hope he takes it as a compliment!) If you are familiar with post-revolution Iran's history, you may be able to relate the scenario with some infamous events.

«Pig» is one of the funniest comedies I have seen in a long time, a very clever mix of satire, fantasy and social commentary, with strong roots in Iranian culture, while never losing sight of the entertainment value and cinematic craftsmanship. Above all, it is a scathing criticism of the world population's dependence on social media, especially the most brazen ones (Instagram, Twitter), to which many persons go to provide and read comments that build their social "reality": it gives them identity, it gives them "the truth", based on false facts, fake news, and contents of few words, few ideas and little depth.

Hasan Kasmai (in a formidable interpretation by Hassan Madjooni, who won the Best Actor award at Sitges) is an A filmmaker who is censored for reasons never exposed, suddenly loses his muse to a new director, and feels that he is losing his distinction in the Iranian film industry, which is more stress than anything. At the same time, Iranian filmmakers are being exterminated by a serial killer who decapitates them and engraves (with an x-act) the word "pig" on their foreheads. As Hasan says, the murdered directors are lame, but when two famous people who are close to him are beheaded, he begins to feel that the killer has not come to murder him because his glory has already passed. And to make things more delirious, an aspiring actress harasses him and uploads images to Instagram, that show features of Hasan that he would have preferred to keep for himself.

What I describe is one thing and what is seen on the screen is another, moments that range from the comic to the sublime, from fantasy to drama, including a ballet of models dressed as red cockroaches for a pesticide commercial that Hasan directs, a police chief who invites him to eat melon while interrogating him, a rock number that Hasan (fan of Black Sabbath and AC/DC) sings accompanied by a band of women in the costumes of the red cockroaches, a sumptuous party, the shooting of an epic film that is a mix between Pasolini and Oliver Stone, Hasan's mother armed with an old rifle and determined to protect her son, plus an influencer who declares the war on Hasan, accusing him of murder.

If you (like me before this) have never seen an Iranian comedy and associate Iranian cinema with Kiarostami, films of children sharing slippers or flying kites, this is a big surprise, and to be fair, a wonderful surprise. Watch it. You will enjoy it and it will also make you think.

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.

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.