Managers Sarah Khayi and Muhammadri Eni brought a measure of “cutting rocks”, a documentary for the first time on the first member of the council in an Iranian rural village. The topic of the amazing but premature film is deeply-a thirty divorce of nothing Sarah Shafardi-gives the movie its energy, although its calm is not completely purposeful. However, despite the feeling of withdrawal, DOC features cross explosions from the optical Panache that helps to emphasize its basic story.
Shahverdi was presented in an attempt to open a closed gate – both of them are a literal routine work, and a concentrated metaphor for the huge tasks in front of it while running to the local office. Its city in the northwest of the country carries deep patriarchal beliefs, which leads to the marriage of most of its young girls. Shafardi hopes to press them to continue their studies. It is a violent defender of equality, and it also provokes the feathers of the men with whom they grew up, and whose wives are now trying to raise them.
One of the delicious two syllables includes Shahferdi that helps its male voters in exchange for sharing their property with their husbands, sending fun shocks across the village. However, the opposition it faces is equal, thanks to the disturbing male elders who begin to attack its image. All the time, she wears a wide smile and puts sneakers below it ApayaThat you take quickly from one place to another, and investigate local infrastructure problems that have not disturbed anyone else.
“Cutting rocks” has the vibrant novel’s feature. The camera is mostly captured by a safe proximity, instead of emphasizing events or emotions on the screen. It is, first of all, a piece of monitoring, and its airline wheel wondering when filmmakers in the area adjacent to something sexy cinematic-such as Shafardi enters frankly into a physical argument.
Khaki and Eyni are significantly dependent on the actions of Schvardi as much as the village does. During the moments of stopping or stinging, the film becomes weak in form, taking a negative visual quality that cannot be overcome until the wise liberation. However, there are also a few scenes that start from the natural film texture in ways that draw attention to themselves. A closed judicial hearing was launched on the sermon of a young girl arranged with traditionally exciting coverage over the shoulder. These advanced structures are separated from the direct form of the film, but the shift in the documentary approach adds a sense of unique payment.
When the “pieces of rocks” decline, as if they were letting them Cinéma vérité Be intuitive, his observations are completely dependent on what happens before it is revealed before its lens, like its dictating nationals. There is a certain conceptual force in this, as if Shahferdi was formulating the films itself, although this approach has its limits. However, when the opposite becomes correct, and finally the Khaki and Eyni assumed the responsibility of how Shahfirdi looks, the result is magical in practice: women caused sunlight, making it appear heroic.
The film often decreases in these purposeful structures. However, as a dance between the camera that displays the intention of film makers, and the dance that works as a fabric of Shahrdi, the result is interesting enough. It may not always be exciting, but it definitely raises curiosity, and salts.