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Reza Goran’s first feature film Sarkoob is the first to direct several plays and make a short film. In fact, Goran has joined a series of directors who have entered the cinema from the theater in recent years. Although the film has a director’s name that is inexperienced in the field of cinema, it has a collection of unfamiliar actors. Baran Kowsari, Elham Korda, Sara Bahrami, Campus Ahmadiyya and Roya Afshar are the main cast members and Jamshid Hashempour is also featured in the short film.
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Sarkoob movie is about a family that has experienced a bitter past under the pressure of a father. The film is intended to show the history of the Sarkob and its impact on family members in the absence of the father.
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The film family consists of a mother suffering from Alzheimer’s disease and three daughters. The father and the only son of the family are absent, and the mother’s nurse (played by baran kosari) along with the mother and four daughters form the main ring of characters.
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t seems to be the main idea behind the film’s critique of the Suppression film that the quality of the process of Suppression of these women appears to have an effect on the audience.
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At least as far as the narrative of the film is concerned, we expect the father to be a character in his absence. The filmmaker does not use back-story in the narrative, so he has to burden the task with dialogues and a few limited views of the father’s room. This attempt failed altogether. What we know about the father is limited: his name was Parviz. The girls hate him. She had a bad relationship with her daughters.
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You might ask how these raw data contribute to a tangible and objective understanding of a repressive father’s character, and what the film essentially intended to do with a father’s character other than the same dialogical expressions. The answer is no preparation.
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While the father is merely an impersonal ghost as the key to the crises, the other members are no better off. In fact, all of them are even more superficial, not just in terms of cinematic types. People who spend most of their time in the style of Iranian flat-screen movies with fake arguments and fakes, each with an explanation line.
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So far, with a movie that failed to personalize the factors involved in its crisis. But is there a story besides the characters? sarkoub is not a storyteller either (though it’s not necessarily the story of a virtue film).
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So we have a one-line story that stretches throughout the film, with some crude pieces of it hidden, and five characters with half-line descriptions without any constructive interaction in an apartment.
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Throughout the film, we do not get close to any of the characters, and we do not know, of course, what the specific scars have caused. We do not know exactly what qualities this repressive father had, nor do we know how those qualities brought family work here. More importantly, we are going to see these in the cinema and share their overwhelming sensory experience.
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Nowhere in the film is there news of this experience. We have only a few sentences that the father once threw the phone at one of the girls, slammed into another and had trouble moving north. In fact, to share the story, to interact with the characters, to identify, we need to look at processes, interactions, and how-tos, but what we do see are some people who are hurt by a bunch of general and inappropriate words.
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In the meantime, the mother of Alzheimer’s meets the girls in an extremely artificial and imposed order, and the filmmaker tries to capture the juxtaposition of the sick mother with tears and sighs. Here the film, which is unable to move in a constructive way, falls to the surface of a yellowish, dim effect.
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Many scenes have attempted to use voluminous music to make a scene that is not emotional. Not only does this overuse not only create emotion, but it also quickly disables the music.
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The film camera has been booming from the start. Camera-specific gestures first direct the viewer towards some of the holes. Determining exactly who / what the camera is and what it is supposed to do. But it only takes a few minutes to realize that the camera doesn’t have a specific application or at least whatever the filmmaker’s design is, it can’t be transferred through the camera.
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There are many scenes to illustrate that it is pointless to move, approach, rotate and move around the camera. Probably here we are with the same familiar Iranian cinema disease: the raw imagination that the shaky camera can spin all the way and convey the inner stresses of unprocessed actors to audiences who, of course, cannot and will not.
It is strange that throughout the history of cinema, the greatest in-house film-makers have been able to detect the innermost inflammations, but the Iranian filmmaker has discovered that the camera has to rotate in its small kitchen environment without affecting the film.