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Dreamless Movie Criticism | Telling a mysterious story

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Dreamless is the first film made by Arian Wazir Daftari, one of the works presented at this year’s Fajr Festival. We have a look at this movie below. Be with Zomji.

Biroya is the first feature film by Arian Wazir Daftari, produced by Hooman Sidi and Saeed Saadi, and is participating in this year’s Fajr Film Festival. This work contains a mysterious and suspenseful story and tries hard to draw the audience to the end of the play. Tanaz Tabatabai and Saber Abar, who are the main characters in the story, have presented one of the worst to mediocre games of their career in Beiroya. Biroya is a film that has remained in its original idea, and its many attempts to reach a bony story are not very fruitful.

The story of this film takes place in an atmosphere of chaos and melancholy, and the inexperience of its creators in the payment and the type of narration of the work is quite visible. Beiroya film, like the first character in its story, is faced with a confusion and obvious weakness in its structure, which leads to the viewer’s lack of influence from the film, and the audience has difficulty communicating with the play. Biroya likes to be different and present himself in a different way, but in this context, his share is a raw payment.

The following are excerpts from the story of Beiroya

Dream at work in the movie Dreamless

Roya (Tanaz Tababai) and Babak (Saber Abar) meet a mysterious girl named Behba Ziba (Shadi Karamroudi) in the midst of their migration. This acquaintance and the events that follow shape the story of the film and reveal a secret about the dream, the secrets that cause the characters of the story to change places with each other. Biroya seeks the identity of people and its characters think about the past they came from and the future they want to pursue; If somewhere Roya asks Ziba, it is not a question for you who were you? And what were you? And somewhere beautiful says to Roya that if a person forgets his past, he is still the same person? When Roya and Babak discuss the issue of immigration, Roya raises his identity and complains that he is going to leave his whole life here and leave.

Biroya is looking for the fingerprints that people make in their lives and its characters are moving in the direction of exploring this issue.

Biroya is in search of the fingerprints that people’s lives leave behind, and its characters are moving in the direction of exploring this issue. In order to turn the issue of identity into a story, the film turns to psychological issues and enters into schizophrenia. A mental illness that puts one on the path of delusion and alienation. The original idea of ​​the film is repetitive, and on the other hand, it has reached a more repetitive payoff. Biroya has difficulty defining the story of the characters and stays in the same few lines at the beginning.

The character of Roya is a person who experiences two lives and reaches two different identities, but all these experiences that he goes through are just events that occur in the field of this mental experience for people with this injury, and something dramatic that is defined and If the storytelling is cinematic, it does not attract the audience. For most of the film, the viewer is following the emotions and illusions of the character, and besides, he can not find a story to follow.

Dreamy and beautiful talking in a dreamless movie

In fact, Biroya likes to play his audience and let them know that he has a lot to say. To achieve this goal, the film uses various suspensions and anxieties, a suspension that does not come from the heart of the plot, but all that is related to a dimension of the dream character’s illusions that are injected into the film. Unsupported suspension is true that until the end of the first scene of the film, the audience is thirsty and excited to follow, but gradually fades and discourages the viewer because this suspension has no strong basis and induces a sense of play at the end.

The film surprises the audience with a good start, and until Roya is hospitalized for her eye surgery, everything uses a mysterious subgenre.

In psychological works, the viewer must see himself in the context of a cinematic plot and then become acquainted with the psychological dimension of the work, but in this film, the plot is lost and the audience is merely accompanied by a restless nightmare that has neither a beginning nor an end. Not causal relationships that can encourage him to cinematic logic. The film surprises the audience with a good start, and until Roya is hospitalized for her eye surgery, everything uses a mystery subgenre and the audience finds itself in the middle of a mysterious story that has to unravel its secrets and find a beautiful identity. And win what happened. But from the middle of the film onwards, the work splits into two pieces and the audience thinks to themselves whether they are still watching inadvertently or not. Because the film becomes a melancholy work without any proper story background or setting.

The events that have left no trace in the first half of the story and are intended only for the non-dramatic surprises of the viewer. From these sequences onwards, everything fades and the audience becomes involved in empty and false emotions and sees only a character who is constantly busy and following his own mentality. This is where the story and plot unfold under the shadow of the unpaid melancholy atmosphere, and the viewer thinks to himself that the work had two different directors to present and pay for. The film’s greatest weakness and flaw occurs when the work changes direction and suddenly emerges from the illusions of the dream, at which point the brain can no longer continue its enigmatic dimension. What would have happened if the film had been done with better depth and better depth, the film could have continued well into its first half. In other words, the lack of proper entanglement of enigmatic elements and psychosis is the Achilles heel of the film, which disrupts the structure and disappoints the audience.

Roya and Babak talking in the movie Be Roya

On the other hand, if we want to approach the work from a psychological point of view and look for the elements of this subgenre in the film, we can practically not look at it as a great psychological work. Unbeknownst to the film, it does not cite a sign of schizophrenia or any other mental disorder for the audience until the screen is lifted. The film suffices and answers the viewer’s questions as easily as possible.

The film does not codify the symptoms of schizophrenia or any other mental disorder for the audience until the movie screen opens.

Due to the fact that the film is a relatively small actor with a focus on three characters, the audience needs to open more layers of these characters and access more complex dimensions of them. For example, the protagonist Roya, who is present in the story as a key character with a disorder, instead of being paid for psychologically and showing deep and background elements to him to the viewer, is content with only superficial characteristics of him, characteristics that we all have. We know them. In fact, the audience needed the illusions and loss of dream identity to be portrayed in a deeper, more cinematic, and more scientific way in the form of this mental disorder.

So far, Biroya is a more special play among the works of these days of the festival, because it has had the courage to distance itself from the social genre and lay the foundation for a different world and story.

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