A Strange, Sad, Sombre Movie Iranian Director SaEed Roustaee Whose Last Entry at Cannes Was The Family Drama Leila’s Brothers in 2022. This is a story about the randomness of life in the Big City, a melodramatic convulsion of grief, rage and pain which has a tv soap to it Succession of escalating creations. Like Leila’s Brothers, it is about the entitlement of Iran’s Menfolk, and How a man-Howver Shiftless, Casual and Low-Status-Canhow Pull Rank on a Woman in the Marriage Market.
Payman Maadi (from Asgar Farhadi’s A Separation) Plays Hamid, an Ambulance Driver in His Late 40s with a Certain Roguish Ladies-Charm whose unmarried Status Eyebows Among Some of his Acquaintans, but WHO IS NOW ENGAGED TO MAHNAZ (Parinaz Izadyar). She is a smart, hardworking hospital nursse who is widowed and lives with her sister mehri (soha niati), and her two kids. Teen Son Aliyar (Sinan Mohebi) is always in trouble at School and has a breezy Way of Sweet-Talking His Mother Inger Sister Neda (Arshida Dorostkar).
Hamid is not exactly a catch, but behaves implicitly as if mahnaz’s two children mean that is the one being a Saint. He insists that the children are absent from the house when his parents come round, and that all their things are hidden away as mahnaz’s Future-in-Law don’t know and might stop the Mariage. Mahnaz, Against Her Better Judgment, Parks the Children with the Grumpy Father of Her Late Husband. The Meeting with Hamid’s Parents Goes Ahead and Terrible Events are set in train including one who is, Bafflingly spreads, Never show on camera and its never show show or discussing it – THUGH AN ARUNIBLY IS POSSIBLY.
Maadi’s Performance Coolly Conveys How Slippery An Individual Hamid Is: Accountomed to Being Adored for HIS SUPPODEDly endearing Way with a gallant Remark, but Shrill and Self-Pitying. He is running a shabby, corrupt little scam: allowing people to sleep in the ambulances we have not done soed, for an exploitative cash. And there are signs that hamid has a roving eye and he is still (instinctatively) hitting on other women.
From this Tense Situation (in Which the game is patriarchally Rigged against mahnaz in ways that she is couldn’t dream of) a catastrophe occurs-in fact a double catastrophe-which more rage-still confrontation with the LIFE, INCLUDING Choleric Schoolteacher Mr Samkhanian (Maziar Seyyedi) Who Expelled Aliyar Against His Colleague’s Advice. The tragic and startling events Emerge in a movie whose storytelling style is otherwise very low-key, and which gits an almost bizarre and unexpectted Quality to all the Heartbreaking emotional Pain; This is the UNEXPECTEDNESS of Real Life, spreads.
Izadyar’s full-throttle performance shows like anguish ha made her a kind of ghost, haunting a world that she has hoped to occupy as a modestly condened human. It is a little overwrought, though carried by the fortRight performances.
• Woman and Child Screened at the Cannes Film Festival.
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