Ehzar series part 4 | سریال احضار قسمت 4 چهارم
Ehzar part 4 | 4 سریال احضار قسمت
Sanaz Ramadan Filmography, Iranian Cinema
The latest version of Shahram Shah Husseini, a popular face for these days of television, “House of Girl”, was shown after a three-year break.
A movie from the very first episode at the thirty-third festival of Fajr Film Festival was surrounded by many edges. The noise that “House of Girl” did in that year, and later added to its long seizure, is not something to expect from Shah Hussein and the show.
You just have to take a look at his work schedule to find out that the successful television man has had a media-oriented approach to his cinematic work.
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Trailer Ehzar Episode 4
“Colagpher”, “Women of the Angels”, “Mr. Hoftegran”, all show the interest of Shah Husseini to the mainstream of the mainstream Iranian cinema, and his comedy is also part of a series of comedies. So where’s the noise and the seizure of the film for three years at the festival, which is one of the favorite films of the audience?
The answer to this question is the name of Parviz Shahbazi, author of the text “House of Girl”. Shahbazi, in writing and in production and production of cinematic works, is the opposite of Shah Husseini.
Shahbazi goes to his subjects in films that may not appeal to popular audiences, he does not fundamentally concern the film, and his filmmaking style is based on video transmission.
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احضار چهار When watching the “House of Girl” movie, we encounter two narratives. A narrative on the screen of the cinema, which, in short, has no head, nor is it a narrative that goes beyond the removed and modified sequences.
“House girl” is a good start. It introduces characters and provides a good atmosphere for the characters and the atmosphere of the film. Without excesses and excesses, the story goes ahead and reaches the original.
The death of Samira (Rana Azadiyor), just the night before her wedding, the suspicious behavior of her family and the occasional messages sent to her friends after Samira’s death, determined them to discover the mystery of Samira’s death. So far, everything is tidy. We are faced with the ones that introduce themselves, but they are still meaningful behind the main narrative.
قسمت 4 سریال احضار
Hamed Behdad, in the role of Samira’s nominee, for the first time presented a controlled and in-game game, turning Mansoor’s character into a puzzle that has been defined in the text. The star Samira’s sister, with the play of the Ahmadiyah Campus, who presented in the red lacquer last year with acceptable appearances, also contributes to the narrative’s belief in the girl’s house with her eyes and silence and silence, but all the positive points of the film are here. Ends.
By ending the first and entering the second half of the film, which is a flashcard, it immediately loses its coherence narrative to what Samira has seen in his last hours of his life.
The viewer, who in the first half of the movie is seated with Samira’s friends (Pegah Ahangarani and Rain Kowsari) to understand the cause of Samira’s death, is completely abandoned in the second half to discover something out of sometimes irrelevant illustrations and dialogues, which maybe at least in the original script of existence Has not had a foreigner. Samira, who in the first half of the movie only calls her name, is from the very beginning the centerpiece of the “girl’s house”.
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Now, the Samira that we see is not just about the character, but the only things we know about him is that he says poetry and he is not happy with the wedding table’s desks.
The fact that Parviz Shahbazi, as a modern filmmaker, emphasizes the uncertainty and underlying layers behind every story and personality, is uncertain, but we do not face an uncertainty in the Girl House, there are a number of non-reference image symbols, with Sacred narration and side-by-side film.
Characters that were introduced in the first half, and we anticipated that the narrative would be branded, are completely neutral and vague in the background of the story, and eventually the viewer quits the question and ambiguity of the movie theater with the end of the movie.
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احضار قسمت چهارم The “girl’s house” is a film with an endless repertoire, the individual view of the viewer, which is in Shahbazi’s writings and distinguishes his works, in the “House of the Girl” is separated from the whole work and as an independent member, and leads to the same questions as the viewer Clogs up.
In the end, if you want to get at least a clue from what’s going on in the girl’s house, look at the same signs of the picture that are separated from them so that you may find a good answer to some of your questions.
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The sequence at the beginning of the movie Samira’s friends came to visit his family and their eyes look dry in a room, the star in a room that does not close is looking for privacy, and the heavy look of the father who follows, what is forensic, brotherly and supportive Mansour with the star, and ultimately the final sequel of the film and the glance of the star’s craving that ends in fear and ends up replacing Samira and destiny, are signs that remain the main narrative in the story.
The fact is that the “house of the girl” has been censored and modified in two stages: one before the festival and one before the opening. The result of these reforms has made the film an anti-narrative.
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These days, there are a lot of criticisms about the movie. The fact that Samira’s character does not have the intrinsic character of Shahbazi’s female characters and is more passive means that the filming of a good film has not come out of water, that there is essentially no general film theme to be made for a film and three years to be confiscated, but so much critique is inappropriate.
The film right that has not really been seen at all. The nodule that refers to its weakness has actually been removed from the film, the issue that is supposed to be over its meaning, has been changed with the reforms, and Samira’s character as a person who is supposed to accompany the viewer until his death is the victim of a small slave.
n the other hand, the girl’s house can not be said to be a good film, for the same reasons. Who knows what the final unification of the film really is? The film’s audience at the Fajr Festival is also based on a revised version, so it can not be sustained.
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So how can this film be criticized? The truth is that a movie such as the “House of Girl” that they have ruthlessly manipulated and played with all its cinematic aspects can not be criticized; however, the approach that led to the filming of a blockbuster film such as “House of Girl” should be criticized, Which practically insults the mindset of the audience that can not determine which film and subject is suitable for him, and another person whose decision-making life is short of a director’s length of time, should make that decision. A critique of the system, which forces the artist to self-censorship with an appropriate and inappropriate label and the threat of censorship.