Forbidden

Mahura’s film takes place in Hoor and around the year 59. The story of Zargernejad is full of beauty, symbolism, intension to the still life and blood of the heart of man. What for love, what death. A story that looks very engrossing and memorable on paper. Mahura this year was one of the films that hit the 36th Fajr Film Festival. But did the cinematic work come out of the water?

The story goes back to the years of the imposed war between Iran and Iraq and in the southwestern border region. Where the Arab-Iranian tribe settled in a village. The inhabitants of Half in Farsi and half in Arabic, take guests with bitter coffee, shoot women at the women’s wedding, Henna, and shoot men and women. All of this is a subtlety of the Arab tradition that they have gone through in many films, but the result is ultimately flawed. In Mahura, the story is different, and the movie is one of the best of Iran’s cinema in terms of customs and customs, adherence to the traditions of the regions and avoiding black spectacle, alongside the fire bride of Khosrow Sinai. Suitable and strong use of non-believers, constant communication between Arabic and Fars, faces and grim cast with Henna, Surma, Chafee and Aba, and perfect dances of the villagers at the wedding, provide an unrivaled collection of the traditions of the Southwest that are oppressed and unprotected. It shows up well to the audience.

Zargernejad, in his film, links a coincidence in the imposed war with a romantic story. But with an intuitive approach, they have run away from similar and common examples of such films. Contrary to the film of the third day, where lover and beloved were on two fronts (which is also of its kind is the best of the genre), or the duels whose lover and beloved are both involved in war, in Mahura, the lover was lost before the start of the story and He falls in love with his beloved melancholy. This part of the story is lovely Mahura and provides a good background for justifying the actions and reactions of hero Amin. Thanks to the beautiful views of Mahura’s face, the sound of his Arabic vocals and his underwater hovering in the mind of Amin, each time the name Mahura is taken, the viewer is well absorbed by Amin’s frustration and defeat in rescuing Mahura and that he has been washed away from life, Comes with sympathetic eyes.

On the other side of Mahura, he is uncertain about the war and bitterness. The tension that destroys the village and displaces its inhabitants and confuses them. At first, the movie begins with happy scenes of wedding preparations. The people have grown up, they are not afraid of war, and death seems far off. But with a shocking sequence, the story crashes, and everything goes on in a terrible outburst. Hence the second narrative on the salvation of the lives of innocent people in the war begins.

The film is one of the best in Iran’s cinema in terms of customs and customs, adherence to the traditions of the regions and avoiding black spectacle, alongside the bride of fire.
All of this is a promise of a great movie and an extraordinary experience, but in practice, it does not have the coherence and strength to create wonder, and the movie remains open. Mahura begins with a very beautiful, breathtaking, breathtaking viewer, accompanied by Amin, through tribal quarrels, bombing, death and salvation, but during this process, he breathes out several times. In the first half, it goes smoothly and the sequencing of events helps clarify the questions and open the nodes, but in the second half of the movie, when the action rises, the continuous camera casts, especially in the scene of the clashes in the lagoon, cause confusion for the viewer. The characters appear that the viewer may have heard their name in the brothers’ talks or in the language of the Iraqi people, but who they are, whether they are affiliated with the Amin and the villagers, is still in the midst of a confusion that forces the audience to guess. The fate of some lateral characters remains a matter of question, and how they are reached and positioned in different situations is another of several questions that the audience faces and makes it harder to focus on the upcoming events. The selected Persian subtitle is also illegible in some scenes due to its proximity to the background color, and many translated Arabic dialogues are being watched by the viewer.

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