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Narges Abyar’s latest film depicts a true story. The story of a girl who accidentally enters the life of the brother-in-law of the terrorist group Jondallah, Abdul Malik Rigi, in this way encounters disasters. Abdul Malik Rigi was a terrorist who started his destructive activities, including the assassination of Iranian soldiers and civilians more than a decade ago, and after several crimes, he was finally arrested in 2009 and executed in 2010. But the story of Shabi ke mah kamel shod is not the narrator’s life but the story of his brother’s life with his wife who falls victim to his actions.
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Shabi ke mah kamel shod was made in two parts. The first part is about the romance between Faezeh and Abdul Hamid. The romance that is made is long, not too real, and totally boring, and rather than discussing the quality of the situations that lead to romance, it’s time for a work that isn’t going to have a completely romantic approach.
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Too much. This romance, with all its flaws, is made in the first half and the viewer is directed to the second part of the film, Faezeh and Abdul Hamid’s journey to Pakistan, which confronts Abdul Malik Rigi.
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In the second part of the film, the viewer faces more challenges to the story’s characters. Faezeh becomes that simple lover of the heart who fosters passion and anger, and is opposed to Abdul Hamid, who, although outwardly in love and still fond of Faizah, has become a cruel man who is now a member.
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It is an important part of the Jondallah group. The second part of Narges Abyar’s film, although it contains more details, eventually falls into the trap of characterization and narrative logic, which inevitably drags the film’s story, causing even parts of the story to be questioned.
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In the characterization process, the general process of becoming Abdul Hamid into a cruel man with no cinematic delicacies is not possible, so there is little to do with changing his identity. All this has to be added to the slogan dialogues, which have little or no effect on the story process and are expressed in various languages, including Faezeh. Slogans about life in Sistan and Baluchistan and the hardships that are forgotten after being uttered, and the film goes its own way!
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In the meantime, the film has a lot of redundant scenes, which has led to an increase in film duration to more than 2 hours. Several sequences of different operations that have no effect on the storytelling process, and possibly due to the customization of the work included in the film, throw out the rhythm of Shabi ke mah kamel shod so that it can convey a message to its audience through the language of cinema.
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It is not, and will be fired directly at the viewer only by being included. Perhaps if the focus were on focusing on the storytelling process and subsequently reducing the time of the film, the effect would have been quite uniform and spectacular.
The use of the “handheld camera” technique is also used to increase the stress and stress of the viewer, but the inadequate use of it (which is visible even in internal sequences) causes the viewer to lose focus.
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Hand-held camera technique has a definite definition in cinematic imaging and, if used correctly, can increase the tension of the film and nail the audience onto the chair. But in Night of the Full Moon , the technique suffers from problems that make the enjoyable viewing experience of the camera frame difficult. The camera sometimes transmits tension well to the outside, but in other parts we can see the camera shake without having to use it.
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However, Night of the Full Moon has some positive features, including some good movie actors. Houtan Shakiba is the best actor in the film and has been able to perform well in the role of Abdul Hamid Rigi. Even though Elnaz Shakirdoust has played a regular role in comparison to other actors, overall he can see significant improvements in his acting. The best actor in the film is undoubtedly the angel Sadr al-Adrafi, who presented one of the best games of his career in this film.
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Narges Abiar’s boldness in portraying the Jondallah terrorist group and the stressful situations that make it so difficult due to the size and size of Iranian cinema is another feature that should not be overlooked easily. Iribar has outlined the many stressful situations Night of the Full Moon that most domestic filmmakers are always afraid to do!
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Abyar takes his story out of the house and magnifies the areas of Sistan and Baluchistan to illustrate the crises in that area in the camera frame. Without the need for dialogue, these images convey the concept of pain for the people of the region, who are always struggling with shortcomings.
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Shabi ke mah kamel shod Although the story is overwhelmed by the narrative and unable to follow a single path, it is not an unpleasant experience to watch. With all the problems that the film suffers, it has to be said that “Night of the Full Moon” was made specifically for the cinema.
|Role Film||Actor Movie|
|Zane Abdul Hamid||Elnaz Shakerdoost|
|Brother Abdul Hamid||Hootan Shakiba|
|Mom Abdul Hamid||Fereshteh Sadre Orafaee|
|Brother Faezeh||Pedram Sharifi|
|Mom Faezeh and Shahab||Shabnam Moghaddami|
|Godfather of Faezeh and Shahab||Farid Sajjadi Hosseini|
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which must be watched in theaters. Narges Abyar has proven his intention to have something more important to say in the cinema with his latest work, but maybe you should take a look.