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Iran has been producing some of the best films for over the past 15-20 years, by several directors.
A middle-aged, middle-class couple, on an outing to an arid and abandoned area, find themselves isolated in a forgotten village. Trapped there, while her husband goes for spare parts for their broken vehicle, the woman is thrust into a life bereft of twentieth-century "improvements."
Because of obvious censorship, there are very quiet moments that have enormous significance and meaning in this film---- but only for the attentive viewer.
Don't expect melodramatic jiujitsu, trite rural, curmudgeonly characters with exaggerated mannerisms (Payne's, "Nebraska….."), and unrealistic histrionics to allow "actor" moments.
This is a quiet meditation on marriage, parenthood, and the responsibility of a human being to his neighbor, to strangers.
Okay, it does help that the central character is portrayed by the most beautiful face as ever has graced a film screen, that of Leila Hatami.
I now have watched this film three times and look forward to the fourth.
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I thought it was OK but forgettable, unless one had that special predilection towards liking anything that comes from that region. Such seems always the case with the organizations like Cannes, who, apparently, believe that nothing good can come any longer from the established makers or countries. So a film that would normally be considered an OK work, suddenly becomes the biggest revelation of the decade.
hint at politicalization--- to be in a "hot" mode, as well.
I don't know why countries such as Iran have such dynamic, fascinating film offerings. Why does South Korea? Mali? Hungary?
I just enjoy the films, Vic. No ulterior motives at work.
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