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Film Darkhongah , despite its cab driver inspiration, it is not a copy or any other film, but a film that is so powerful in the geography, language and culture of the south of Tehran that it can be considered an independent and vertical work in itself.
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Reza returns to Japan after eight years of working with Amin Hayai. 1370. The neighborhood in the house. Poor and disturbed family. Reza has sent a lot of money from Japan and is now back with wounds on his body and soul with which to build his home and neighborhood.
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Mister. Wants to be master. Reza’s twin brother, Mehdi, was among the missing in the war and three years after the end of the war there is no news of him. When it comes to Reza, things change. He is looking for his money and it looks like something has happened to them. By the end of the film, one by one, the secrets of Maggot will be revealed. No money. And Reza goes again …
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Massoud Frosty Thursday, February 7, in a sharp criticism of “In the House,” he called the film a fake, offensive and embarrassing film that has a dirty thinking behind it.
“The story of this film is in a genuine neighborhood of Tehran, one of the last places an enemy can conquer, an enemy that seeks to trace all our roots. The director of “In the House” does not have mercy on the mother, the sister, the brother, or even the grandmother, the father of the film, who does not know what the beast is.
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The movie guys are weird and offensive, and it shows a pus-like image of people. There is a dirty thinking behind the film that is taking revenge on the community and leaving no room for defense.
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At the end of the film, a decline in friendship with a sexually explicit need arises with the worst possible scenes, which is absolutely not cinematic, absolutely not human, and as if we are just an animal with a sexual instinct. I can’t believe a movie that’s so bad, offensive, and shameful with little cinema, genuine bad filmmaking and one-on-one games worse.
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Siavash Asadi, the director of “In the House”, said: “If I had the fragrance of my film, I would think I had Hadi.” I’m a social filmmaker and have nothing to do with politics.
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In the House is the first film I see from Siavash Asadi, and I find it to be far superior to the films of veteran Iranian filmmakers and Carbold. A movie that you can believe in, its people and their way of life and their relationships.
The filmmaker knows them well, their environment, their culture and language, their poverty and pain, their lies, moans, vices and cowardice, and knows how to portray them on screen.
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His cinematic language is not backward, and his kind of spatialization, central character and style of directing and movement throughout the film is very modern and modern. We believe in Reza, his loneliness, his wounds, and the pain he suffered for eight years.
He is like a wounded samurai who combines violence and innocence and now returns to his home after years of suffering and suffering in hell-bent and Japanese Yakuza to begin a quiet and comfortable life, but he gradually understands All that he has been suffering through these years has been smoked by his family and gone into the air.
Asadi presents his film to Massoud Kimii and shows signs of chemical cinema such as geography, human relationships and dialogues, but most of all he is influenced by the taxi driver.
From the very first plan that features a sword to the front of the mirror, to the tired, scarred face leaning against the wall and staring at the camera, Travis Bickle comes to mind.
Her relationship with the street woman and her rescue from those who attempt to harm her further reinforces the influence of the taxi driver.
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However, in the house, despite its cab driver inspiration, it is not a copy or any other film but a film in which the geography, language and culture of the southern city of Tehran is so strong that it can be considered an independent and upright work.
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If he had been more careful in writing his screenplay and instead focused on resolving the riddle of wasted money or stupid revenge on the groom’s inferiority, he would have focused on the alienation of his samurai character in the Tehran forest of the seventies and his loneliness.
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Then we encountered one of the best works produced in today’s Iranian cinema, though in its current form it is certainly one of the best works of this year’s Fajr Film Festival.
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The whole movie in the house of Siavash Asadi should be found in the same title. When he writes: Proposed by Massoud Kimii. In earlier films, Assadi had shown himself to be more of a comic-cinema enthusiast, mostly “on the highway” and less “on the pocket of the South Street.” Be it.
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The legacy of being a cinematic cinema has both its strengths and weaknesses for the movie In the House. Its power is that Siavash Asadi is a director with an image of cinema. He appreciates the frame. With every filmmaker who has worked so far, Morteza Ghafouri in her first film to Alireza Fineh, and here also to Toraj Aslani, has been able to deliver a spectacular film frame to her audience.
|Role Film||Actor Movie|
|Reza Misaqh||Amin Hayai|
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This is the very characteristic of comedy cinema; and directed by Siavash Asadi, who knows the effect of a chase or run-down sequence in front of a woman’s home, not too familiar or too stranger.