Danlode serial mankan part 18 سریال مانکن قسمت هجدهم

Danlode serial mankan part 18 سریال مانکن قسمت هجدهم

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mankan part 18
mankan episode 18

Mankan part 18 serial The market for serial production and distribution on the home theater network seems to be hotter than ever after the success of works such as Shahrzad and Romance.

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The less audits that the Ministry of Guidance imposes on the production of such works compared to the VOA, despite the short time span between the production and presentation of this series of serials, have led the producer and the investor to intend to Unlike cinematic productions (which can be delayed one to two years later when the film is ready to be released in the screening cycle), it has generated a great deal of enthusiasm for working in the field.

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But in the meantime, so-called serials have been introduced to the market, which have been forgotten as quickly as they have been produced.

It may be difficult for many of us to remember the names of soap operas like Aspirin, His Holiness, Golshifte, Love Is Not Closed, and Gold Denton, but the reality is that all these forgotten relies on Cinema and television actors have become well-known and well-known, targeting their purse rather than targeting the audience.

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This is becoming more interesting when we are informed that a large number of filmmakers have begun their production projects for faster access to this market, and in the not too distant future we will have to see other names in the home network.

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Hossein Soheilizadeh, featured in her career, high-profile serials such as “Delnavazan” and “Distances”, nowadays plays with the noisy Mannequin series (starring Mohammad Reza Forutan in her first starring role on the home theater network). Has competed in this arena.

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Meanwhile, the use of the script of “Babak Kaidan”, which has authored high-profile works such as “Rahman 1400” and “Mirror Bag”, can give its producers confidence, and for viewers, the enthusiasm and excitement of watching the work. Bring along.

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Importantly, but welcome to the Mannequin series. The acceptance that, despite all the weaknesses and shortcomings of the work, has given its audiences relative satisfaction. Audiences whose passion for films such as Mannequin and Mirror Bag have also set the stage for many of our cinema productions these days.

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It seems, though, to take a brief look at the features of works such as Mannequin, to get a better view of the situation in these days of a part of Iranian cinema whose production patterns are still being sought in film fifty years ago.

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Hossein Soheilizadeh, a 6-year-old director who focuses on television for most of his career, in the year 6, and after making something of eleven serials for various television networks, has directed the TV series “Delnavazan” and welcomed the anticipated work.

He came and gave his name to languages.

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The story is that in this part of the series, something unbelievable or, to put it mildly, insight into the mind of the audience happened that made this episode one of the weakest parts.

Most notably, Bahram’s arrival was right in the middle of peer escalation and Gram in the air with peer-to-peer troupe Badigard Aker and Kaveh, so long as we knew we would at least not want the Super Semen to end up in the middle.

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The combination of the younger and lesser known actors of those days, who had brought together Shahrokh Pool, Siavash Kheirabi and Sahar Qureshi, made the romance between serial characters pleasurable to TV viewers and the “entertaining” a start to youth production.

Television, which until then had been dealt with less. The path that Hossein Soheilizadeh’s subsequent work (Distance) could persuade television officials to produce youth drama.

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Mannequin, this time directed by the same director and relying on more freedoms for home theater and video sites, has attempted to address a less well-known social phenomenon called the “Mommy Sugar”.

Mannequin is structurally a complete flip-flop in Iranian film and TV history. The latest costly achievement directed by Hossein Soheilizadeh, unfortunately, lags behind Iranian filmmakers in every direction of the thirties and forties.

The carelessness and rush of production can be seen in the same basic Mannequin sequence as the long and boring dialogue of Kaveh and Peer amidst all the artificial and studio snow that awkwardly induces the viewers of the cold streets of Tehran.

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