Laila’s Brothers is a film by Saeed Roostaee, who has previously made two good films, “Ever and One Day” and “Metri Shish o Nim”. The issue of this note is not the 3-hour drama of Saeed Roostaee; which is deeply a big surprise for Iranian cinema, but I want to look at the impact and creation of a work from a moral point of view, how it can disturb those who are jealous and criticize this unpleasant feeling.
In search of lost time
I borrow this title from Marcel Proust to say how our cinema is losing its golden times with the suspicion of criticism and is gaining a little bit of good with sentences like Don’t brag about your worthless award; Or: Which one is it? becomes sad Critics who are really focused on spreading the word about the film and it is never clear to the viewer how it is possible to speak against the structure by stating a structured criticism. Masoud Farasti is a scholar, he knows cinema, he has written many books and he can easily express his opinion on work. But the main question is to what extent his personal belief and opinion influence his position. Cannes festival has invited him as a judge or critic several times to express his opinion about a work. Several times Iranian critics have been seriously invited to Western festivals. How long should the conspiracy illusion last? How long do we have to sit until your Excellency praises a movie like “Mahdi’s Situation”? In Iran, critics have shown that they definitely analyze works with a certain orientation. One of the requirements of criticizing and analyzing cinematographic works is the direction and taste of the critic, but not the direction that is in line with the survival of the person in maintaining the national media platform. It seems that instead of criticizing the film and its form, we are looking for the why of the concept and subject that the filmmaker expresses. It is with this theory that the filmmaker is accused and asked why? And how is the most important feature of a work of art not important? I heard somewhere that a critic said that with a film plan, I understand what the purpose of making it was and that it has no other value. By the way, he was very angry. A few months ago, during the Fajr festival, the same critic defended a film that Frosty and other guests are against it. The way Iranian cinema is moving, one should mourn the lost time in cinema. Abbas Kiarostami receives an award in Cannes, we are jealous, Saeed Raushi receives a prize, we are jealous and…
me not too
Saeed Roostaee and “Leila Brothers” are stuck in a time predicament. A film that if it was made and aired at any other time, they would not have wanted to oppose it like this. The hard-working author wrote the script for a few months, made it for a few months, and now he is asked why, at a time when Metropol Abadan has fallen, his agents dress like that on the red carpet, even the award he presents to the people of Abadan. they do not accept. He got involved in the current (me too) and for some reason, without any valid evidence, some actress points the finger of accusation at one of the actors. The main question is, why do they make the artist’s condition so bad in Iran that he lets him go? We ourselves score goals without wanting to, that’s when we should respect Saeed Roostaee and others like them, much more than those who cheered at the Cannes festival. Please don’t let the artist feel alienated in his own country.
Author: Ali Rafiei Vardanjani