Abad Va Yek Rooz | Life and a Day
Iranian social drama film written and directed by Saeed Roustayi.
Somayeh (Prinaz Izdiar) is a young girl who is about to get married to an Afghan man. But Somayeh to choose this
Wesbat is hesitant because the condition of the house he is in depends to a large extent on him.
He has an old and disabled mother and of course brothers and sisters who are always arguing with each other and …
Eternal film critique and one day the camera on the shaky hand and the fast rhythm of the film is not to be seen; It is an illusion and to be blind.
The film spills dirt on our eyes so that we do not see correctly and with the vagaries
And his restless taunts prevent him from hearing. Addiction, misery and destruction,
human trafficking and house-selling seem to be the inevitable fate of this house – Sogdoni.
The sentence of the eldest son and the head of the house (Peyman Maadi) is the main slogan and message of the film:
“Everyone who does not leave this house is a dog. “Everyone who goes back and forth is less than a dog.”
Is not “home” a metaphor for the homeland and its inhabitants, the people of the homeland? Shame on this look.
The house does not have an owner – a father.
The mother is sick and overwhelmed. Big boy but who?
A formerly addicted man, apparently sympathetic to home and family, who exposes the head of his addicted brother and his oppressed sister
– the only positive person in the film –
Sells to a stranger to run a sandwich shop.
What a dirty and chauvinistic look – anti-Afghan – the film has. The view of the lower class is the same.
The downtrodden are condemned to sell. The first twenty minutes of the film are full of useless details
under the pretext of cleaning the house and then the room of the addicted brother (Mohsen) witnessing cigarette butts in the seams of the walls.
We are protruding undergarments, glassware and pieces of drugs and crumpled coins;
And pouring the substance into the toilet well and throwing a package of it on the roof
Neighbor’s house and the pain of throwing the throwing hand (Maadi).
Why not throw this package in the toilet well?
The fate of this package after finding the little brother behind the neighbor’s roof
What happens in the end? Is this nothing but a pathetic show game? Like so many other movie moments.
The film revolves around Mohsen Motad (Navid Mohammadzadeh) and
Everything is in the service of drama. Hero-anti-hero-Mohsen suddenly appears everywhere in the film with fights and fights.
They all made noise and
How lazy and showy Morteza’s hustle, bustle and horniness are in front of him and when he returns home.
It all leads to surrender and silence.
Their quarrels have nothing to do with his return. The actor’s roles in this role in the first half of the film are artificial and funny,
and then in the second half, it is very much performed.
Maadi is definitely better; But it does not matter. The northern city that pays homage to the southern city.
Is not the reason for his choice for his fame in foreign festivals?
Who is Shahnaz with that love boy of Lot and his monster?
What has that got to do with the film?
How ridiculous and meaningless the scene of a fight between the “unscrupulous” brothers behind his room ،
Like all the fake fights in the movie. Shahnaz does not seem to have a husband, she is all there.
Fathers and husbands are absent from the film. What is Azam doing and what does he do in this house?
She is a widow and rich and from Dubai and she is a widower and …
why does she not provide any financial support to her family despite her compassionate appearance?
Maybe he knows the family does not need help.
Everything is a game; A pathetic game. Nowhere in the film do we see the moneylessness of this poor family, for example.
If Morteza shaves the future Afghan groom, it is to buy a shop, not to solve the financial crisis.
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