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Like most of the film made by the directors of Iranian cinema, ” nabat ” is full of logical flaws in the script, which confronts the story with multiple layers of storytelling. The story of the plant is simple and summarizes the separation and then the problems that arise in everyday life. The relationship between the father and daughter and the woman who enters the man’s life is often fueled by the plot of the novel’s unexpected storyline that captivates the viewer’s mind, but in ” nabat ” everything is so simple and tail-like. From the very first minutes of the film, one can predict the identities of people and the events of their lives.
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Saeed (Shahab Hosseini) and his daughter live a quiet life until a woman named Roya (Nazanin Farahani) enters their life. Pegah Erdi: A young filmmaker who has been abroad for many years pursuing activities unrelated to cinema, but his primary interest in cinema led him to pursue filmmaking in the United States and then return to Iran to pursue filmmaking. ” nabat ” is Pegah Agrarian’s first filmmaking experience.
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In order to create a character-driven work that the viewer has to believe in the storytellers and carry on with the story throughout the story, the logic of the drama is needed more than any other cinematic element.
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The logic that leads to understanding the decisions and behaviors and, overall, the world of storytellers, and ultimately the effect remains on the viewer after watching the film so that he can make his own analysis of what he has seen.
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But this narrative logic in ” nabat ” is at its weakest possible, so that many of the film’s dialogues are not only duplicated, but have no progress in completing the screenplay. The two-man encounters.
which are repeated several times in the film, should portray the action of the characters in the film but do not go through problems except for duplicate conversations and do not pursue any purpose at all.
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Unfortunately, ” nabat he Candy” is caught in a trap that often gets caught up in the first movie, and the use of the plot is a matter of disregarding the details of the story.
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” nabat ” has an interesting starting point, but the nature of its implementation is the most important issue in making a cinematic work. Where the director builds several sub-genres in the story to accomplish a single message in the film.
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These crabs are also present in the ” nabat ” but many are inherently incomprehensible, including Said’s daughter not knowing the details of her mother’s life and why she and Saeed have not spoken to her, and the girl is not curious about her face.
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Her mother knows something! ” nabat ” doesn’t even provide enough reasons to explain how Shadow’s life together, which can be a major challenge for the viewer, but the filmmaker has overlooked.
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Unfortunately, Pegah Erdi, who has directed the film in addition to directing the film, also has issues with directing and decoupage, which, of course, can be avoided as the first film, but it may be worth noting that many sequences Movies are full of frames that have nothing to do with media cinema, and even the way they refer to themes are hand-crafted and over-cooked.
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Like the sequences nabat intends to ask a question to the father, but moments before he sees the families in the corner of the picture and then the questions are asked! The making of such sequences dates back to many years and television series, but Pegah Agrarian used it to make the film.
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Even the presence of Shahab Hosseini as an actor cannot help the ” nabat ” to survive the weaknesses that it suffers. When we come across a flawed script where narrative logic is kept to a minimum and characterization is done at a very low level, no movie star can change the film’s status.
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It’s important to note that ” nabat ” is the first film and we have to wait for the other director to be able to comment on his filmmaking style, but for now, the ” nabat ” is not very promising.