The documentary of Sepideh Farsi “Put Your Your Your Your Er Your Your Er Your Er Your Er”, Fatima Hasuna, 25, is the story of a woman under the siege of the continuous bombing, which was particularly manufactured by her circumstances. On April 16, 2025, just one day after the announcement of the choice of the Cannes Film Festival, Hasuna was killed in an Israeli air strike, and turned the film into cinematic health into a very brief life.
The Persian takes an unusual visual approach to capture hassona, but he ultimately pays profits. Using one smartphone for another photography, the Iranian director creates layers of distance between the audience and its subject – or rather, simulating the actual gap between the two women – during many WhatsApp video conversations. The mockery cannot enter Gaza, nor can he leave Hassona, leaving the Pixilated calls with the delay of sound (due to the bad internet connection in Hassona) as its only way of communication.
There will be more clear and more traditional options for photographing these shots, between the ability to record screen, or perhaps use Hassona’s DSSOR Camera, but choose Lo-Fi Mise en abyme It has a fencing effect. On the one hand, it keeps hassona out of reach, and the way the Persian was during its year -old conversation, starting in April 2024. Its pictures of Palestinian death and survival, amid the ruins of the buildings that were bombed, are revealed by a sharp leadership of shade, composition and concentration, which emerge in a blatant contradiction with blurry video talks.
However, the calls themselves are the essence of the movie, and it is very attractive despite its poor quality. Hasuna, in her broken English language, tells her life and daily circumstances, that her family is starving to the danger of bombs as soon as she comes out of the door to her dreams on a day of escaping from Gaza and traveling to Rome. However, despite the death and destruction around it, it receives every part of the news and information with a radiant smile, in an attempt to survive positively and laugh even more intolerance. During many calls, the sound is boycotted by helicopters, drones and bombs that fall on neighbors’ homes. At some point, its camera turned into a column of near smoke, where a residential building stood only moments ago.
These hearty images are given a greater political context, as the Persian photographed its laptop between calls (or while waiting for Hassona to call, after dropping a call) while playing news videos about Gaza and ISRAEL on LOP. All the time, the Persian remains a subject as well – a powerless observer of these events, which was reduced to a form by reflecting it on the stained computer screen. She also asks Hasuna about her views, which the young photographer offers again with a smile, even separating her complex feelings about the greatest situation. However, these details are pale compared to tales that seem illogical, Hasuna tells her daily life, each time with a different veil to suit her clothes, or a different pair of shadows or glasses.
Hasuna is very modern and talented (her Arabic poems and songs shared with the Persian), and the more we see more than 110 minutes, the more destroyed that we will never meet her, or never recognize her. It is likely that her killing of the Cannes Festival is likely to have changed, with the exception of an additional scene and recognition near the end. But despite this, the aesthetic approach to the sport – which could have easily escalated – proves the grassy and separation of equality, as a photography of the exact way the director got to know her topic closely before her death. Despite its tragic results, the film proves an excitement of its ability to hope against all difficulties, with the full width of the occupation, and the full range of life and dreams broken by the war.