Barack Obama Wants You to See This Harrowing Movie

After his stay in Europe for horror movies in 2018 Everyone knows with Penelope Cruz and Javier Bardem, Famous director Asghar Farhadi back to my hometown with A hero, another edgy social-realist drama about the tangled mess of contemporary Iranian life. The story of an imprisoned man scrambling to find freedom, in the process getting everyone in his orbit in trouble, it’s a moral drama that cognizes the complex nature of noble and deceitful, even if a few glitches in the story prevent it from reaching his former highs The split and Past.

Iran wins Best International Feature Film category at the upcoming 94th Academy Awards, A hero (January 7 in theaters and January 21 on Amazon, after a brief award qualifying run) involves Rahim (Amir Jadidi), who has been jailed for three years for failing to repay a large loan to the creditor Bahram (Mohsen Tanabandeh). At the beginning of the film, Rahim is released from prison on a two-day sabbatical and reunites with his girlfriend Farkhondeh (Sahar Goldust), who recently found a lost bag at a bus stop containing a collection of gold coins. Together, they try to sell those coins for cash which Rahim can then use to settle part of his debt to Bahram. However, when they were provided with far less than they initially expected, they devised an alternative plan: posting flyers throughout the city about the lost bag in the hope that the owner could be contacted and Rahim is positively publicized that he will convince Bahram to forgive his unpaid bill.

Initially, this good deed goes unpunished, and Rahim earns praise from prison officials after his sister Mali (Maryam Shahdaei) hands the bag over to a woman who responded to Rahim’s ad and who hide gold from her husband in case she needs it. in case of emergency. A television appearance praising Rahim’s selfless act supported his cause, persuading a charity panel to raise funds on his behalf to meet Bahram’s request. However, from the very beginning, cracks in this scheme began to form, with Rahim declaring publicly (on the advice of his manager) that he had found the bag and not Farkhundeh. Moreover, Bahram simply did not trust Rahim, whose initial irresponsibility cost the businessman not only the money he lent him, but also the dowry he had saved for him. her daughter. Regardless of how popular sentiment develops, Bahram refuses to be branded as the bad guy because he wants what he owes. Furthermore, even when he (temporarily) agreed to let Rahim out of the story, rumors began to circulate on social media — both about prison officials making this up to distract from a conversation. personal crisis and Rahim’s lack of honor.

In the second case, those suspicions are somewhat justified. Rahim had just legally returned his lost property but lied about his motives, and his subsequent decision to fire his stuttering son Siavash as a way to gain more traction. he is a less than commendable individual. Farhadi’s camera follows Rahim as he glides from location to location in an attempt to solidify his novel, often subtly evoking the protagonist’s trapped circumstances through compositions. track him through bars and wire fences, or in narrow doorways. At the same time, the director makes no use of music, thereby amplifying the immediacy of his unadorned portrait of Rahim’s plight, in which selfish intentions are achieved through virtuous actions. and thus causing bottleneck situations that require more duplication.

Rahim is neither a villain nor an innocent, and A hero put himself in the middle of the mess he had created for himself. That space becomes all the more frustrating when, apparently having cleared his name, Rahim tries to get a job that could help secure payments to Bahram, only to discover that his potential employer want proof of good account of Rahim. Providing such evidence turned out to be impossible without contacting the bag’s owner, and Rahim’s reaction to the situation further confounded an already chaotic dilemma. So, a subsequent scuffle between Rahim and Bahram once again puts the former’s reputation in doubt and forces him to make amends for mistakes he cannot easily free himself from.

At the same time, the director makes no use of music, thereby amplifying the immediacy of his unadorned portrait of Rahim’s plight, in which selfish intentions are achieved through virtuous actions. and thus causing bottleneck situations that require more duplication.

Rahim’s ordeal is a case study in the dreary areas of morality where no one is cursed or blameless, and A hero navigate its thematic landscape with a subtle sharpness. Everyone involved with Rahim fell victim to heavy damage, from Farkhondeh and Siavash to board members and prison officials who – for reasons both self-serving and selfless – helped relay Rahim’s version of events, and now wants to minimize the harm from him possibly being seen as cheating. However, where the film stumbles is in the somewhat confusing final script. Rahim’s decision to take the matter literally comes from a bit of hypothetical, as well as the ensuing blackmail plot.

What’s more pressing is still the general lack of suspense, which is due both to Farhadi’s discreet storytelling (which never builds to a necessary climax) and the fact that Rahim’s shyness is hard to shake. shifting, and thus the viewer sympathizes with his predicament, regardless of whether it is almost the result of the cruel hand of fate as it reflects his personality. What we feel for Rahim as much as we do, however, is testament to the performance of Jadidi, whose sullen face and sad eyes show a genuine concern for more than just his happiness. but also for Farkhondeh and in particular, Siavash, whose ultimately he could not stand the exploitation. In refusing to see his child as merely a pawn in a game he wants to win and accepting responsibility for his luck, Rahim displays the courtesy he has been swayed by. by a lot of people before and allowed A hero to determine a true measure of admirable heroism.


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