Film irani bomb yek asheghaneh
Sinan once again leaves the village on the pretext of military service, and then returns. But this return is clearly evident with the early return of the film. Sinan puts his fog in the misty air, while he is no longer comforting at the beginning of the film. At home there is no news of a daddy. As expected, her mother and sister did not read the books stored on the corner of the house.
Now Sinan, who thinks he’s well-known people around him and imagines that there will be no audience for his book, goes to the father of the head of the well. When he finds a copy of the book in his wallet regarding the publication of his book, all his imagination over his father suddenly collapses. An audience that was so close to him, but Sinan did not know him well. Sinan constantly escaped from being like him, but he may soon realize that his resemblance to the father is indisputable.
bomb yek asheghaneh
It seems that the essence of my father’s life goes on in the life of Sinan. A father who has gambled his life and whose only companion is a dog (he himself says, is the one who does not judge him!) He suddenly crosses the mind of Sinan and cries him. Now, the final scenes dialogues are not just dialogue with his father Sinan.
Sinan’s dialogues are with her true audience who hast known her recently. One can not dare say that Sinan and his father are one, but it can be said that Sinan has his father newly known. Now that his father confesses to surrender, he can be painful and unacceptable for the sins.
When Sinan says, “Grandpa, you and I are like wild-pear tree fruits that are strange and weird … we do not join the community”. What is the meaning of the choice of Sinan? Is it like a father to give up and get frustrated after years of strangulation and excitement? If we proceed with this mental imagination, the choice of Sinan can be suicide in the well. What choices do you have if we are to succumb to the death of our beloved soul and continue to be our father’s path? A choice of hope and surrender? What is the reality and which one is fantasy? Maybe you have a choice with us. Tasting wild bitter pear is sweet and sweet. The end of the movie is the same. Hope you enjoy watching this movie.
Director: Peyman Maadi
Script: Peyman Maadi
Producer: Ehsan Rasoul and Peyman Maadi
Director of Photography: Mahmoud Clari
Cast :Maadi Treaty – Leila Hatami (لیلا حاتمی)- Siamak Ansari – Habib Rezaei
The story of the film passes through the 1960s and follows the adventure that is in love with the bunker while being bombed but …
Bobmb yek asheghaneh
Peyman Maadi: Born in 1349 in New York City, he began his career as a screenwriter in Iranian cinema. He was a screenwriter of commas and “craving”, and in 2008, for the first time, he appeared in front of the camera of Asghar Farhadi to play in the film “About Elly”, and then in the film “The Rare Separation of Simin “Who became a global figure. In recent years, Maadi has been featured in well-known Hollywood productions, including the X Ray Campus and the HBO network called The Night.
Cinema “Bomb yek asheghaneh” movie:
Alfonso Cuaron made a film with Rome that made the cinnamon extract, like a thick honey and a new one dripping from the bees and dipping on the trunk of the tree. “Rome” is a film that is based on the combination of the “Soborenza” intimacy, the poetry of the “Tree of Life”, the spirit of the neorealism of the Italian cinema, the personal epics of Frederick Fellini with the huge size of “Annegrins”.
But at the same time, it’s the movie that the director’s seal on it. In other words, “Rome” is one of the independent films that are almost extinct by their generations, and we must thank Netflix for investing in such a valuable antique in the cinematic environment today. The result is a film that is as purely representative of the cinema as the works of Beethoven and Vincent Van Gogh, representing music and painting.
Big movies almost never become big films because of their story, but they grow up because of their narrative and performance. The challenge is how can the filmmaker use his artistic medium formality to make the best and most effective and different transmissions of the story we’ve heard many times, or the story that’s fresh and fresh; how does the filmmaker make his artistic form and succeed in concentrating power Rozkhsh and to serve it by crocheting. The true character of a filmmaker when it is determined that the language of the cinema speaks with all dialects and dialects as if it were their mother tongue. Quaron proves with Rome that he has achieved such a high degree of filmmaking.
“Rome” does not seem to have a strange story. Everything is in its simplest form on paper. The film is packed with episodes and bitter and sweet pieces of everyday life of its main character. But when Coarrow takes his camera to this simple, what we see is a magnificent and magnificent range of inspirational thoughts that continue to eternity. “Rome” is more than a narrative of a story, a cinematic reconstruction of a period, and the translation of several and several sophisticated sensations in the form of cinema.
In this sense, Rome, as much as the follow-up of the form, and of course the theme of the two previous films of Quaron, is as new to it in its work, making its film strengths more prominent and more refined and smoother. Just like the “Children of Men” and “Gravity”, which, despite their great apocalyptic and science fiction and blockbuster dimensions, have been infested with weeds and rustles in the absence of children in the absence of children, and mother tensions Wandering in zero attraction to cope with the death of his child, here also depicts the coarrow of the world and the people who live on it in a frame, and in this way comes an interesting entanglement between the meanings of the two.
Cooron depicts human experience
This means that Cooron depicts human experience, despite all its insignificance, as a decisive, cosmic event, and greatly reduces the size of the world, while preserving its non-aggressive volume, so small that it fits in the girth of our eyes. Recalling the Clive Owen character in the “human descendants” in the arms of the infant in a hug from the striking eyes of the soldiers who shot the gun to stretch their hands to the jump of hope that appeared in the midst of miles of darkness. Or the famous “Gravity” scene, in which Sandra Bullock’s character, after her hard work on the spacecraft, brings her astronaut dressing, brings her eyes to one moment, leaves her and leaves her knees in her stomach against a circle of space station and hollow It is arranged around the cuff that holds the umbilical cord, all depicting it in a fetal appearance that is comfortably sleeping in her mother’s abdomen.