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Thursday, January 20, 2022

Barack Obama Wants You To Watch This Painful Movie

After his stay in Europe for the 2018 thriller everyone knows Renowned director Asghar Farhadi returns to his homeland, with Penelope Cruz and Javier Bardem hero, another curious socio-realist drama about the tangled mess of contemporary Iranian life. The story of an imprisoned man who tries to pave his way to freedom, getting everyone in his class in trouble in the process, is a perceptive moral about the complex nature of nobility and deceit, even though A Few Narrative Hiccups Stop It From Getting Your Ex High Isolation And Past,

Iran’s entry for Best International Feature Film at the upcoming 94th Academy Awards, hero (in theaters January 7 and Amazon on January 21, on the heels of a brief awards-qualification race) deals with Rahim (Aamir Jadidi), who has been sentenced to three years for failing to pay back a large loan to his creditor Bahram. (Mohsen Tanbandeh). Early in the film, Rahim breaks out of jail on a two-day leave and is reunited with girlfriend Farkhondeh (Sahar Goldust), who has recently found a lost bag at a bus stop containing a collection of gold coins. Is. Together, they attempt to sell the coins for cash that Rahim can use to settle a portion of his debt to Bahram. When offered much less than they originally expected, however, they devise an alternative plan: to post travelers around town about the lost bags in the hope that the owner will get in touch, and Rahim Earns positive publicity that will convince Bahram to forgive his bill dues.

Initially, this good deed goes without punishment, when Rahim receives praise from prison officials after his sister Mali (Mariam Shahdei) gives the bag to a woman who responds to Rahim’s ad, and who is asked by her husband. Hide gold in case she ever needs it in an emergency. A TV appearance recounting Rahim’s selfless act convinces a charity council to raise funds on his behalf to meet Bahram’s demands. From the outset, however, cracks begin to form in the plan, with Rahim publicly claiming (on the advice of his jailers) that he found the bag instead of Farkhondeh. Furthermore, Bahram simply does not trust Rahim, whose original irresponsibility cost the businessman not only the money he lent him, but the dowry he had saved for his daughter. Regardless of how developed popular sentiment is, Bahram refuses to be labeled as the bad guy for what he owes. Furthermore, even once he agrees to (temporarily) take Rahim off the hook, rumors start swirling on social media – both from a separate crisis by prison authorities. About fabricating this story for removal, and Rahim’s lack of respect.

In the latter case, those doubts are somewhat valid. Rahim has returned legally lost property and still lied about his motivations, and his subsequent decision to trample on his stammering son Siawash as a means of gaining additional sympathy makes him a less admirable person. Marks as. Farhadi’s camera accompanies Rahim as he tries to drive his imagination from place to place, often exposing his protagonist’s trapped situations through compositions that stun him with bars and strings. of spying through fences or in narrowing doors. At the same time, the director employs no music, thereby enhancing the urgency of his ornate portrait of Rahim’s plight, in which selfish motives are achieved through noble deeds and result in knotty situations for which more Even more repetitions are required.

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Rahim is neither a villain nor an innocent tyrant, and hero He is located in the topsy-turvy beach ground he designed for himself. The place becomes more uncomfortable when, after having clearly cleared his name, Rahim attempts to find a job that will help secure payment to Bahram, only to find that his potential employer is Rahim. Wants proof of feel-good account. When the owner of the bag cannot be contacted it becomes impossible to provide such evidence, and Rahim’s reaction to the situation only adds to the already chaotic dilemma. Similarly, there is a subsequent scuffle between Rahim and Bahram which once again questions the former’s reputation and forces him to revisit the mistakes from which he cannot easily free himself.

,At the same time, the director employs no music, thereby enhancing the urgency of his ornate portrait of Rahim’s plight, in which selfish motives are achieved through noble deeds and result in knotty situations for which more Even more repetitions are required.,

Rahim’s test is a case study in the moral gray areas where no one is reprehensible or blameless, and hero Navigates its thematic landscape with less acuity. Almost everyone who has anything to do with Rahim becomes a victim of collateral-damage, from Farkhondeh and Siyawash to council members and prison officials—who, for both volunteer and philanthropic reasons—have been involved in Rahim’s events. and now seek to reduce the damage caused by its potential exposure in the form of fraud. However, where the film falters is its somewhat awkward late scripting. Rahim’s decision to literally take matters into his own hands seems a bit hypothetical, as does the ensuing quasi-blackmail plot.

More pressing still is a general lack of suspense, due to Farhadi’s tonally reserved storytelling (which never makes for a necessary crescendo) and the fact that Rahim’s shadow is hard to shake, and thus his plight. Sympathy for is impotence, no matter how much it is a consequence of the cruel hand of fate as much as it is a reflection of his character. Still, we feel for Rahim as much as we do, a testament to Jadidi’s performance, whose stern face and sad eyes are genuine not only for his own well-being, but for Farkhondeh and Siyawash in particular. Expresses concern, whose exploitation he ultimately cannot tolerate. For refusing to treat his child only as a pawn in the game he is desperate to win, and to accept responsibility for his fate, Rahim displays the decency he has previously enjoyed with so many people. influenced and allows hero To find a true measure of admirable gallantry.


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