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Astigmat, the second film of Majid Reza Mostafavi, starring Mohsen Kiaie, Baran Kowsari, Mahtab Nasirpour and Nikki Karimi, is being released these days.
Majid Reza Mostafavi is remembered earlier in his film “Narrow Pomegranates”. The filmmaker, who focused more on spatiality and visual effects in his first film and had difficulty with storytelling and personalities, has given a great deal of attention to the storytelling of Astigmat, but on Astigmat.
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But perhaps the most fundamental problem that can be debated in his new film is the multitude of events that take place for the characters in the film that keep us away from focusing on a single crisis and a sense of connection with storytellers.
Astigmat, on the other hand, is one of the few films released that the filmmaker has gone to express a number of social issues, despite all the flaws in the film, to see how successful it is to deal with these issues.
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Concerning the plot of the film, one family in distress, the estranged father announces that he wants to sell the house and bring family members into a new crisis. The Iranian film also claimed last year’s Fajr festival, which was banned from attending the festival. Watch the Astigmat movie in the cinema and continue to analyze the film further.
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The film begins with the school atmosphere. We are confronted by a teacher (played by Nikki Karimi) who seems to have a close relationship with his disciples, and we continue with the main boy of the film, Fraser.
This emphasis on the new generation’s space and the camera that accompanies Kasri as a representative of this generation shows that Kasri is the main character of the film, and from his heart we enter the space of the story.
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From the title of the film and the fractional pink glasses we find that the film is probably about deepening and clarifying a boy’s look at the cruel facts around him.
But what happens next is that despite the fact that the film’s viewing angle seems to be fractional and that the fracture continues to affect events, its role is diminished in many moments of the film, and we are not getting very close to the inside of the boy.
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A boy who looks different in every way and understands things at this age that his other classmates are unaware of.
It is not as special to us to understand his actions further. We can compare the deficit with the boy in the movie “Bomb, a romance” by the Maadi treaty to find out more about the character of the character.
Not only do we not feel lonely with this little boy, but with other people in the film, we do not feel a deep sense of sympathy for the awkwardness of their problems and the lack of moments of reflection.
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When the addicted and outgoing father of the family (starring Siamak Safari) tells his son Mehran (starring Mohsen Kiai) that they must evacuate his home, the film’s major crisis begins, and from that point on, we expect the family to balance Same thing.
But whether it’s directing the sequence, much of it in Long’s view, or in the wake of other problems by the end of the film, its importance to the audience is undeniable. Mehran has such a problem that we as an audience do not know which one to align with.
His wife Samira (played by Rain Kowsari) has left him for his job. He cannot take a taxi ride because of his alcohol use. His father also recently wants to get the house out of their grasp. The only chance we have for the character is to sell his leeches in a few months.
The idea of leech nurturing is the only one that has some fresh air among the other stereotypical dilemmas of the film that can worry us.
In a way I wish we could have summarized the side of the story instead of this volume of problems: What if a man who raised a leech to compensate for his past losses suddenly died of his leeches?
Because leech breeding, despite its variety of ideas, is both a passive man’s character development and an eye on getting rich overnight and a deteriorating personality.
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His passivity somehow overwhelms his mother (played by Mahtab Nasirpour). A mother who seems to have nothing left of her life if she does not get under her wing, and on the other hand her over-kindness in her son’s inactivity has not been affected.
We also don’t know much about Samira and she only has the type of an unhappy wife whose neither satisfaction nor dissatisfaction is obvious.
If we go through the story of the father threatening to leave home, the point of the film where Fraser decides to kill the leeches is the only point where we are deeply concerned about Mehran. On the other hand, we have been so far from the deficit that we do not accompany him in this action.
Only in the superficial layers have we seen her mother and father being neglected and not well treated (completely stereotyped and without influence).
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Soon after, as we watch Mehran and Samira fight and our focus is on what is happening now, the mother enters their fight and alerts us to a shortage of school. What happens is that he grabs the target’s collar and throws him into another accident.
While we are desperately wanting to stay for a moment with a movie crisis and know what’s at the end.
Let us for a moment contemplate the pain with which these characters kill and draw closer to their inner selves. Shortly after we find the deficit, Dad suddenly announces that the house has been sold for a long time. Then we find out Samira is pregnant.
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We also pass on the idea of fractionalism to the school teacher in an exaggerated way (because we do not understand the reason for this in the screenplay nor the reason Hadi Hejazifar was chosen to play such a short role!) And we find that it is as if the filmmaker. He has confused the growing problems with the various problems!
Instead of facing a crisis and facing deeper problems in the same crisis, we are faced with several different crises whose only response is to say how miserable these people are! This is where we need to redefine the title of social film.
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Has the filmmaker made thousands of tiny, big problems for the characters and solely aided them in realizing that these people are miserable in reality, has he made a social film?
There is a problem with the filmmaker’s previous film as well. Enesia and Zabih are poor couples whose filmmaker keeps them in poverty until the end of the film. Our constant response to Enesia is merely compassion, not idiocy.
The film shows us only superficial layers of the life of a poor couple without a clear narrative line. The result of both films is that we are left wondering what the filmmaker’s intention is to address such problems.
It is admirable to have such a concern, but should it stay the same level of concern? Does putting together some social film disaster shape?
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At the end of the Astigmat film, is our perception of a house drowning in snow a forward-looking approach to this family or backward?
Will their position change throughout the film? How important are we to a house that they could leave from the beginning and now do at the end of the film? What is our look at the future of the little boy we didn’t know much about in this cool atmosphere?
|Role Film||Actor Movie|
|Zane Mehran||Karan Kosari|
|Mother Mehran||Mahtab Nasirpour|
|Pedar Mehran||Siamak Safari|
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Is it enough just to say that a future is worse than before? To make a social film seems to need more than just a series of misfortunes.
These are the problems that Mustafavi has faced in his two recent films, and he hopes to provide a more effective drama, along with a well-illustrated film, in addition to a well-illustrated film. Beyond his disadvantages, he has shown in both films that he is technically quite capable and that we should expect a stronger script than him.