The shift isn’t exactly sudden, but the way in which characters develop in the final third renders it a wholly disappointing conclusion to what was shaping up to be a compelling piece of social commentary from independent Iranian cinema.Ītom Heart Mother, named after a character’s dream scored by the Pink Floyd song of the same name, follows a night in the lives of two young women in Tehran, Arineh (Taraneh Alidoosti) and Nobahar (Pegah Ahangarani). Much of Ali Ahmadzadeh’s Madare ghalb atomi 1 works as an Iranian take on Jarmuschian ideas of age, culture and place - set for the most part in a car, with pop culture literate dialogue, at one point a neat one-take, and featuring an impressive use of music - though this intriguing style is undercut by an eventual genre shift in the film, from comic drama to thriller.
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