eric_jv

Quite a strange road trip adventure that walks the lines of dark comedy as much as those of the unexplained, seemingly unhappy circumstances that keep this family's bizarre dramatics moving along.

As much as you really want to know what exactly is going on, the film still succeeds in serving genuine entertainment with an overall experience of humor and culture through moments of classic songs, references to Western cinema, and the most picturesque Persian landscapes that rival other films where anyone has described the scenery as resembling a painting.

Apart from the general impression left on me from the Farhadi films I discovered earlier this year, this was an even more satisfying, yet completely unexpected selection that now holds a place for me as one of the most scenic, comical, and cosmic Iranian films I've ever seen so far.

The story in this one definitely gets a little more depressing as it progresses but still satisfies because it's not as slow as you think it could be. It's essentially a simple tale of a man returning to his hometown, which reminde me of Özcan Alper's Autumn, where meeting old acquaintances and confronting the past seems inevitable...but without the political undertones.

In Circle, there's enough dialogue to keep you interested in seeing how each character's story will play out along with some beautiful lighting that makes for a much warmer visual experience instead of the scenic, mountaineous cinematography of Autumn that made up for limited character interactions and a more personal journey of self-reflection.

Along with occasional dream-like sequences and some dark humor, this one is a fascinating rumination on living, our failures, and accepting whatever fate that life gives us.

The chemistry between our two hotties really isn't there and the story takes an unnecessary turn with her mother but, whatever...in the end I guess we get what we hoped for.

But visually...I say more unknown Chinese directors should get a cinematographer from 'In the Mood for Love' on the team because this movie's overall look totally made it a great watching experience. The colors of Shanghai's cityscape glimmer so beautifully through the wide shots of a dark city and nighttime skyscrapers, high-rise moments of Ruxi in her office and apartment are perfect, that certain glow that lingers over Ruxi and Sai's hotel interactions, along with some elegant transitions.

Hollywood has never really stunned me with so much visual treatment for a big-city story of romance.