Metri shesh va nim

This movie portrays a typical life of many which is hidden from public views. It is not easy to make a movie like this in Iran in general.

Peyman Moaadi 's character is a dedicated and loyal officer who is endangering his personal life to drag down a drug dealer. It feels like Mr. Roustaee has lived the life of a drug dealer, drug addict, and a narcotic officer.

The movie tries to show the grey area of the Moaadi s peer, playing games. The act of a faithful and lucky friend with the cell phone in the jail, who had instant connection with Naser; was strange. The barn attack was rushed not well developed. Not sure what was the reason that all the prisoners let out of the cells and were banging the fence/bars and creating chaos? Was it a set up for a scape or what? Some scenes were too long and could be easily slashed down.

In this movie the strong act by Peyman Moaadi stands out. It is also touching the sad and dark life of a drug dealers,addicts, and narcotic officers. This movie stays in mind for a while and does not end by just leaving the movie theater. The legal process is almost the same and jail is real - not a set up.

For some time now, Iranian cinema has been stuck in a rut, a formula if you will. Recurrent themes include, but are not limited to societal problems, family issues, poverty, etc. Saeid Roustaei's second feature film following his debut, "Abad va Yek Rooz" is an attempt to break this mold.

'Metri Shes Va Nim' is the story of a police officer who is after a major drug dealer in Tehran. The movie shows how the police force follow leads and do whatever is in their power to get to top of the food chain. Police brutality, atrociously inhmane conditions in jails and the disrespect for the sanctity of life are all portrayed with grimy detail. In this respect, the movie is similar to 'The Wire' in that it gives viewers a glimpse into how sausages are made and the methodical way in which the police intimidate, coerce and trick people on their way to bringing down bad guys. This aspect of the film, which mainly unravelled during the first half, was a breath of fresh air.

The second half, however, became a bit too melodramatic for my taste. It seemed as if the plot ended up steering in the direction that many Iranian films these days take. I was hoping to follow a complex, coherent and compelling story line. Instead, to my disappointment, the plot spiraled into a loose and rambling melodrama where I felt I was being lectured on why people turn to selling drugs and how crime does not pay. While I commend the director for giving viewers a glimpse into the gritty reality of a world that is less often seen (with details that only an insider would know), I feel we have a long way to go before we can do away with the polemics and social commentary and simply focus on good story telling.

The amazing point is, the life and the society portrayed in this movie is so sad that you don't know whose side you should be taking! One minute you feel angry at Nasser the next second you feel sorry for him. Also Saeed Roustayi must have a bright future in front of him, he is such a good director.

A very strong film with a theme unlike all other Iranian films we have seen which focus mostly on personal issues in a changing -and not changing- society. The thematic is the millions of drug addicts in Iran and the fight of a few policemen to control it. The violence used by the police force is appalling as a paling are the conditions hundreds or thousands of homeless drug addicts live in. Also the personal stories of the two policemen in charge create doubts as to their integrity. Questions as where the state and social services are arise and if punishment of the culprits is enough to deal with the enormous problem. All in all a great film, a punch in the gut.

The hunt is on for those supplying all the drugs, by a police force who behave just like the thugs, as they track the felons down, hunting down all over town, before they're hooked like fish and sent to see the judge.

I thought this was a spectacular piece of filmmaking, it flowed effortlessly from start to end, the story building superbly with each subsequent piece elegantly dovetailing into the next. It leaves you with a view, albeit a cinematic one of a world of addiction, corruption and exploitation, especially of those with little to lose except their life, which depending on where you sit in the pyramid, will come at your own hands, those around you or the state. The only niggle is the unpalatable process of state executions that those in more civilised parts of the world find so disturbing.