Most of US Don’t Appreciate Where Our Problems Sit on a Scale from Ordinary to Tragic. One day your frustrations related to impressing the family of your Intended Husband, or to the Local School’s Struggles to containe your tearaway. The Next Day, there are no footholds for this conventional social anxiety becase the bottom has fallen out of your world.
Selling a descent from stress into a state of devastation that can never be shed (Only briefly repressed) is the formidable actress parinaz izadyar. Remarkably, consider how offen and is tasked to cry or yell, there is notthing reappearance to her performance. She keeps reacting to the slings and arrows of Outrageous fortune with Fresh Volatility, Not Letting Her Character, Mahnaz, Become Passive or Automated.
Returning to the Cannes Competition lineup after 2022’s “Leila’s Brothers” Iranian melodramatist, Saeed Roustayi, proves that ha an almodovarian for painting in the color of female Pain under patriarchy. While his product design is more naturalistic than the Spaniard’s, the voluptuous emotional is comparable and roustayi knows jest to rein it in for a moment of beautifully composed quiet.
Quiet Can Never Be Achieved when pre-adolescent Nightmare aliyar is around. Mahnaz’s son is a tasmanian devil spinning his ticking time bomb Energy into entrepreneurial pursuits (Running a gambling ring at school), bullying Classmates and Yelling at any adult that interferees with his forcefield. When Aliyar Breaks A Match Inside A Lock and Traps 700 Kids in the School PlayGround, he is suspended for a weeke from School. (This does, in fact, feed fair.)
IT DOES, Howver, Create an Extra Problem for Mahnaz – A Hospital Nursse – Raising Two Kids (The Second Child is a Meek Girl) in HOW MOTHER’S AFTER THE DEATH OF HER FIRST HUSBAND. A romantic rapport with paramedic Hamid (Payman Maadi) has reached the point where he was to propose, necesitating the blessing of his family out of the town. In order for say to open, evidenc of her two children must be scrubbed from the premise. The news of their existence will be broke at a less pivotal moment.
The First Act unrolls the settings and characters that dominate Mahnaz’s Life and Work. Roustayi Makes It Clear That We’re Embedding in A Flawed Microcosm Where No One Is On Their Best Behavior. Hamid is always hustling the infir to supplement His earnings. Mahnaz is an apologist for Aliyar’s antisocial Behaviors, dismissing a colleague’s valid objection that the kids make her uncomfortable. As Aliyar Demands an Explanation for this 30-Yaar-Old Woman’s Lack of Response to His Instagram Messages, She Can Laugh at HIS Childlikity while Fearing the Not Distance Daay? He is at an age where the shadow of the man will become become lioms Large.
With the exception of mahnaz’s straight-shooting Mother, the doomen in her life fade into the background with this early hustle. Younger Sister Mehri (Soha Nianiti) and Daughter Neda Arely Barely Registered As Our Leading Lady Focuses on Wrangling Men to Transform Her Modern Family Situation and Set Down New Social Acceptable Roots.
THEN COMES A DIOBLE WHAMMY OF TRAGEDY AND BETTERS MAKES MAHNAZ’S EFFORTS TO FIT NORMAL Iranian Society A Wild Dream of Yesteryear. Roustayi Excels at Threading Transformative Moments Through Scenes Mounted Upon Other Business. In the corner of a busy room someone is looking someone Else in the eye and now nothing will be the Same Again. The Biggest Moments Happen off Screen. We are show the build-up and the aftermath as mahnaz rushes to catch up with what her life has beCome and to count who is still there.
Inasmuch as emotional arcs are Pitched Toward the extreme, domestic and work settings are sketched with a keen anecdotal Eye and enlivened with Compeling Details. PITY The POOR FEMALE PATIENT TRYING TO FINT THE VOICE TO OBJECT AS MAHNAZ CONDUCTS A PASSIONATE PHONE AS THE SAME TIME AS INJECTS The Patient’s Hand with a Needle. On the home front, feereshteh Sadre orafaee almost walks away with the which film in the Course of Another Phone Call. HER SOCIAL POLICYSE INTO A Maternal Fury and the Air Turn Blue With Inventive Insults.
A Few Structural Issues Threateten to Tip the Balance From Cinematic Melodrama into TV soap as the Bad News on Coming, But Izadyar’s Sustained Emotional Carries the Vision onwards. Working with cinematographer adib Sobhani, roustayi finds moments at home and at work to let the visual elements take over the fiction human drama. Two Hospital Scenes Featuring a Bookend Key Events, serving as bondaries between the mahnaz used to be and how far and is willing to go now.
Home – not the one she thought she was building, but still nononeheless a home, Emerges as the Focus of the Second Half of the Film. Three Women there is alternately tolerate and turn on each Other. Their unspoken bond is the knowLEDGE that they are beholden to different rules than the me in their lives. The patriarchy expresses itelf in standards of Behavior the Men Around sayhey they can get away with. ‘Woman and Child’ Is Scarcelly a Film About Personal Triumph, but as the Chance of Conventional Assimilation Iranian Society is WRENChed from Mahnaz, Who’s Taks Itspon Herself to Base Their Own Value.
Grade: B+
“Woman and Child” Premiered in Competition at the 2025 Cannes Film Festival. It is currently seeking us distribution.
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