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Skin (2020)
The good, the Evil, and the Enchantment
Unique and innovative in many ways: Impressive music, realistic acting, awesome editing, and above all, magnetic storytelling. An Ashigh (a traditional storyteller and musician in northwest of Iran) tells an impossible love story of a saddler and a formerly christian widow who converted to Islam. But there are also jinns who tempts the saddler to come to a tragic decision in a dilemmatic situation.
I also think this film shows the most accurate image of jinns according to Iranian folklore (as I myself imagined when I listened to my grandpa's tales.)
Beautiful and meaningful. Extremely recommended.
Bad-e sorkh (1988)
More Bitter Than Bitterness
A forgotten worthy piece of picture that depicts the sad story of a penniless couple in the south of Iran, Hormozgan province. The man, a deckhand, protests against state control of persian gulf, collaborating with British colonialists and local elites, but he gets socially stigmatized as TAHRAN (badly possessed by an evil spirit). Tragically, her wife is forced to satisfy the spirit of the sea, in order to exorcise it from her beloved husband.
Symbolic and yet realistic. Professional cast and crew. And Unfortunately, the only film directed by Jamshid Malekpour, stage director and theater historian.
Seisaku no tsuma (1965)
Love is Warmer than War
An absolutely Masterpiece from a great underrated director, who worked as assistant of Mizoguchi and his films, like those of his master's, are contemplative, although not such slow. Seisaku's Wife tells a rich and impressive story about an inevitable love in contradiction to military honor. You can see desperate life instinct in the age of imperial deadly values. This dichotomy, of course, is not unfamiliar in Japanese classic cinema: Naruse's Floating Clouds and, even more, Suzuki's Story of a Prostitute (also made in 1965) showed the same contradiction. But I found Masumura's movie stronger: Majestic pictures, simple but splendid music, and excellent performances.
It is strongly recommended, especially if you love infinite golden heritage of Japanese studio cinema.
Majaray Nimrooz: Radde Khoon (2019)
An Untold Story
This film is about a story that have never been told in Iranian cinema. Mahdavian have dared to show his drama in the context of that events. Radde Khoon tells the story of a war inside a family (a nation), a woman on one side, and her husband and her brother on the other. Of course the representation of that strange war is controversial, but I think Mahdavian has tried not to be one-sided (he knows that always there are victims on both sides). And above all, his films are pioneers of cinematically representing untold stories of Iran's contemporary history.
Gheyre Mojaz (2017)
Yektapanah hasn't made a "movie," but a mistake!
I've seen Djomeh fifteen years ago, such a really nice movie that you can't forget. Tonight, remembering the memory of Djomeh, I recommended watching this new film of Yektapanah together with my friends. I can't believe that the man who once has made that pioneer picture, could make this soap opera style worthless film. It's not an artistic movie, and strangely, not an interesting commercial movie. It's just a catastrophe.
Tabestan-e Dagh (2017)
Another Child Death in Another "Farhadiesque" Film
After "A Separation," Asghar Farhadi's Oscar winner, many resembling Iranian movies are made that are sometimes categorized as social realist movies. As recent one of them, Searing Summer has borrowed many elements of A Separation: death of a child, lies and hesitation, and (again) an imminent separation!
Yet, you can enjoy it: precisely thought detailed script, natural acting, acceptable cinematography, and at least one moving sequence. a good debut for its director and writer. Way to go!
Ghatel-e ahli (2017)
Not bad as his recent works, Not good as his early works
If you have seen Metropole & Jorm, you'll find this movie, more coherent and eloquent. But, like his other recent films, it includes the famous and now, boring scenes that he has copied from his own early memorable works like Gheisar and Gavazn-ha: Killing a bad man in the shower, a bleeding protagonist in street and etc. Jadidi's performance is very realistic, but Parastui is another Haj Kazem (of Glass Agency) in a business costume.
Khafegi (2017)
It Wants But It Can't!
Khafegi wants to be a horror movie but it can't scare you at all, wants to be a B/W artistic picture but can't impress you, wants to attract you anyway, but is too slow and boring. If you like to watch a horror movie or anything interesting, don't waste your time. It's just another attempted experiment of Jeyrani to make another box office success like his pioneer movie, Ghermez. He has wasted his time and money, you don't!
Bi-gharar (1973)
a superficial copy of a deep movie
An Iranian adaptation of a great Hollywood classic movie, Imitation of Life (1959) without Douglas Sirk's art of directing. Christian contents have been eliminated and racism has been changed to class distance in Iranian version. The end of the American movie is very spiritual and magnificent, but Ghaderi has made it very sentimental and superficial. In sum, it's an unsuccessful artless copy of a masterpiece. However, I've seen it many times with my sister and brother, because we had not any other VHS at home!