mavisheh
Joined Jul 2001
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Reviews10
mavisheh's rating
Chaharshanbeh Soori is a beautiful movie, directed with so much subtlety and refinement, bringing the best of the actors out of them. The superb narratives and very good filming are topped with great story telling, making it a must-see and a fresh blood in the Iranian cinema.
The complication of human behavior and psyche as well as the flow of the events, thoughts, and emotions, remind one of Milan Kundera's novels.
The character development is really flawless, and I have never seen Hedyeh Tehrani in a better and more touching scene than the one where she is in the bathroom with her sister in Fireworks Wednesday.
Great job and congratulations to Asghar Farhadi and Mani Haghighi.
The complication of human behavior and psyche as well as the flow of the events, thoughts, and emotions, remind one of Milan Kundera's novels.
The character development is really flawless, and I have never seen Hedyeh Tehrani in a better and more touching scene than the one where she is in the bathroom with her sister in Fireworks Wednesday.
Great job and congratulations to Asghar Farhadi and Mani Haghighi.
While 'We Are All Fine' starts a bit slow and with bad acting, it evolves into a touching and heart-filling picture that leaves you with applause for the director and screenwriter.
This is best accomplished by the one-to-one interaction of each character and the audience through a hand-held video camera. Each character ends up in front of this camera delivering what seems to be an improvised delivery of their true emotions and frustrations. This mixing of 35mm footage and the hand-held video is what makes the movie a combination of a blog, an auto-portrait, and a voyeuristic penetration into other's hearts and minds.
Amid a portraiture of emotions and dysfunctional interactions of a family, you could also glean some of the problems of the young generation in Iran: love, unemployment, the desire to set free and leave the country, family ties, etc. Though, it is much less about these than about a good composition of emotions that comes through.
It is truly well done (although it has its shortcomings that should be overlooked) and a must-see.
This is best accomplished by the one-to-one interaction of each character and the audience through a hand-held video camera. Each character ends up in front of this camera delivering what seems to be an improvised delivery of their true emotions and frustrations. This mixing of 35mm footage and the hand-held video is what makes the movie a combination of a blog, an auto-portrait, and a voyeuristic penetration into other's hearts and minds.
Amid a portraiture of emotions and dysfunctional interactions of a family, you could also glean some of the problems of the young generation in Iran: love, unemployment, the desire to set free and leave the country, family ties, etc. Though, it is much less about these than about a good composition of emotions that comes through.
It is truly well done (although it has its shortcomings that should be overlooked) and a must-see.
Kamal Tabrizi's new feature has one thing in common with his previous movie 'Marmoolak (The Lizard)'. He is unveiling the true nature of organized religion again but from a different angle. This time, he is not blaming a body of hypocrite clergies, but revealing how the people and believers in religions are lost in their quest of finding divine.
While referencing to a lot of movies of the same nature (it is inevitable not to think of Bunuel's movies and some of Felini's while watching Yek Tekeh Nan), he tackles the concept of God from a philosophical point of view, but fails to bring the movie to a higher level and to add more controversy to the point he is making.
There is a lot of good spiritual references and lessons of self-awareness and finding one's path and following it, that could be read between the lines.
The ascetic and other-worldly scenes are a bit too obvious and could have been done more poetically and with more subtlety.
Tabrizi is as good as before in the use of colloquial language and street humor and in the character development.
He is a good filmmaker who was able to deliver 75% of his potential in this one.
While referencing to a lot of movies of the same nature (it is inevitable not to think of Bunuel's movies and some of Felini's while watching Yek Tekeh Nan), he tackles the concept of God from a philosophical point of view, but fails to bring the movie to a higher level and to add more controversy to the point he is making.
There is a lot of good spiritual references and lessons of self-awareness and finding one's path and following it, that could be read between the lines.
The ascetic and other-worldly scenes are a bit too obvious and could have been done more poetically and with more subtlety.
Tabrizi is as good as before in the use of colloquial language and street humor and in the character development.
He is a good filmmaker who was able to deliver 75% of his potential in this one.