Writer and Director: Reza Maghsoudi
Cast: Ahmad Mehranfar, Shabnam Moghadami, Shohreh Lorestani, Elnaz Habibi and Sam Rakhshani
Ganbar and Sanam are simple villagers who refuse to bring new children after the introduction of population control policies in the 1970s. By changing these policies during the ninth and tenth governments and on the eve of the old days, they are thinking of childbearing. The embarrassment of the people’s words and words, the same story as the old man, and the mumble in the small village where the news is swirling, kangar and Sanam.
Khejalat nakesh Movie Review
Cinema audience knows Reza Maghsoudi as a screenwriter who has experienced his best work in the 1970s and collaborated with Kamal Tabrizi in writing such works as “Seal of Motherhood” and “Sheida”, and has been able to make the Crystal Simorgh the best script It is for “Lily with Me” in 1995.
After a 70-year-old man, besides “always a woman’s leg,” adapted from the collection of short stories by “Separated” by Seyyed Mehdi Shojaee, he was able to write the works of a not-so-defunct cinematic comedy Fired The cinematic feature of the country’s cinemas in recent years has succeeded in folding a good box office for these works.
“khejalat nakesh” is the first cinematic experience of Reza Maghsoudi as director. The work of the same box office comedy in recent years has nothing else to offer except for an acceptable design. Like other works, the film has tried to make one of the political issues of these days of the country a source of pranks and, sometimes, some of the former officials of the country will play with its corners. The plot has not been turned into a script properly, and the story has been born in six months.
The events go hand in hand with the best possible form, and the logic of film’s narrative goes down to the extent of a poor performance of the cinema. It seems that the agents are the first thing they have come to mind in the movie and have not bothered to try to show a little creativity on the screen.
Khejalat nakesh is a cause for all things
“khejalat nakesh” is a cause for all things. That Ganbar is ignorant. So the viewer must accept that all this has happened. Without expanding its original design, the film ends at the very first twenty minutes, leaving the time to waste its time with ridiculous scenes and cat and cat ridiculous games. The effect is so weak in the screenplay that it’s hard to be accepted in the evaluation process to the thirty-sixth festival.
The film, like its other monarchs, tries to go to any door to put a smile on the lips of the viewer, but in this case it fails, and after the middle third of the film, the jokes are so repetitive that they Title is accepted as part of the behavior of characters. Unfortunately, the movie does not show the least creativity for laughing the viewer, and only restores what has been shown repeatedly in comic series and some of the same works for many years.
The dance scenes of Ganbar, unnecessary landing, throwing slippers, and the placement of a woman’s nerve with a clumsy man are the tools that Mehran Ghafourian and “Torsh and Shirin” are performing at Reza Attar. And their representation after a decade is unknowingly brutal to the viewer.
khejalat nakesh iranproud
“khejalat nakesh” is the film producer than the director’s film. This can be seen from the common components found in other recent works by Mr. Parvin Hosseini. The movie, like “I’m not Salvador,” “Mirrored,” and “Moral Good,” is not an end in itself, and it tries to conceal its technical problems by hiding behind sales.
In these works, the role of the director at the level of one of the technical factors goes down and all decisions are concluded by the supplier. Producer Seyyed Amir Parvin Hosseini has, in recent years, managed to produce low-cost, but best-selling works, as one of the most popular producers of investors and cinema owners, and seems to be the key to the success of his latest work. From now on.
فیلم سینمایی خجالت نکش
The items mentioned in this article do not mean ignoring or diminishing comedy cinema against other common types in the cinema of the country. In recent years, the factors behind the production of such works have transformed the comedy drama into a way to compensate for its financial failures in other works, and they have taken the main part of this kind of cinema that was used to seriously criticize the political situation in the country. . Under the pretext of his golden sword, the cinematic comedy has destroyed its identity and brought work to a point where the makers of the arena have drawn this field to the stage of denial of their inherent duty.
No one disregarding the need to sell a film in the box to turn the cinematic wheel into an industrial one, which many livelihoods pay for it, but reducing the ceiling of the expectations of people and artists from this influential art-media, Manually and exploit the amount of box office sales as a document to prove the validity of the form and content of the film, apart from cultural fraud.