Reviews and ratings of the Iranian film “Night, Interior, Wall”; Behind the bars of darkness and suffocation (Venice Festival 2022)

"Night, interior, wall" is the latest creation of Vahid Jalilond, which is called "Beyond the wall" and is part of the 79th festival of Venice film has stepped forward. This film is the third produced by Jalilund after the films "Chershanbe, 19 Ardebehesht" and "Without Date, Without Signature". Jellilund is going to Venice for the second time, who previously won the best director award from the Horizons section of the Venice festival with the film "Without Date, Without Signature". This movie also brought Navid Mohammadzadeh the best acting award from this category.

BingMag.com Reviews and ratings of the Iranian film “Night, Interior, Wall”; Behind the bars of darkness and suffocation (Venice Festival 2022)

"Night, interior, wall" is the latest creation of Vahid Jalilond, which is called "Beyond the wall" and is part of the 79th festival of Venice film has stepped forward. This film is the third produced by Jalilund after the films "Chershanbe, 19 Ardebehesht" and "Without Date, Without Signature". Jellilund is going to Venice for the second time, who previously won the best director award from the Horizons section of the Venice festival with the film "Without Date, Without Signature". This movie also brought Navid Mohammadzadeh the best acting award from this category.

But this time, Jalilund is going to compete with the contenders in the main category and to win the Golden Lion of Venice. He has gone back to his familiar and popular acting combination. Navid Mohammadzadeh and Amir Aghaei, who co-starred in "Without Date, Without Signature", are also in the movie "Shab, Interior, Divar". This time, Diana Habibi plays the main female role in the film.

The story of the film is about a man named Ali (played by Navid Mohammadzadeh), who lives alone in an apartment on the verge of blindness. He is the only doctor (played by Amir Aghaei) who visits Ali to help his condition and gives him medicine so that his health might improve a little. When Leila (played by Diana Habibi) enters the story, who is running away from the police and takes refuge in Ali's house, the film takes on a different color.

BingMag.com Reviews and ratings of the Iranian film “Night, Interior, Wall”; Behind the bars of darkness and suffocation (Venice Festival 2022)

Vahid Jalilvand with Navid Mohammadzadeh and Diana Habibi on the red carpet of the Venice Film Festival 2022

Looking at The opinions of the critics can be seen that they liked the film to a great extent, especially the complete commitment of Mohammadzadeh and Habibi to their roles. But according to critics, the film takes a long time to get going and after creating its tense atmosphere, it is no longer as tense as before and loses its purpose. On the other hand, Adib Sobhani's efforts as the cinematographer and the camera on his hand to portray the dark and suffocating atmosphere of the apartment have been praised, and Jalilvand's power in directing has been praised, but the film cannot give interesting answers to its initial questions and leaves the audience in awe. The brutality and suffocation of the film leaves the atmosphere.

ScreenDaily - Jonathan Romney

Iranian writer and director Vahid Jalilvand to the cry and protest arising from political anger in his drama "Night, interior, wall" pays. Showing complaints and protests in Iranian cinema is something that is always of interest, especially in one of the most dangerous times for Iranian artists, when we see the imprisonment of Mohammad Rasoulov and Jafar Panahi, whose film "Khors Nist" is in the main section of this year's Venice Film Festival. .

'Night, Interior, Wall' has no shortage of power or intensity, and you wish there was a little more control and focus on this suffocating quasi-thriller. Jalilvand, who won the Best Director Award at the Venice Horizons for "Without Date, Without Signature" in 2017, is likely to score at festivals with this dark and insane film, though perhaps more admired than enjoyed. will take.

When the twist finally comes, it's smart if it's premeditated. Suffice it to say, this twist makes the film as metaphysical as it is political, an existential riddle and a thriller to watch. But it's a shame that a film that overexaggerates its own drama takes so long to get to this point that it loses its narrative tension as soon as it establishes its initial suspense. Acting is not always at the service of the drama either, most of the time, Mohammadzadeh maintains his monotonous sad and taciturn expression, while Habibi goes to a crazy and brave peak of confusion and confusion. There are some exaggerations that go wrong, the least of which is the unnecessary insistence on using repetitive sound effects to raise the level of anxiety.

However, some of the actions taken are effective. The protests and the retaliatory and repressive actions of the police in terms of dynamics are very step by step and it can be said that it is amazing for an Iranian drama. But the film's visuals can be suffocatingly somber, with Adib Soltani's camera covering the apartment in heavy grays and greens at night. The forced finale didn't make it clear what the film was about, but you still wished Jalilvand had used a bit of the brevity and direct methods of a truly riotous artist, tempering the boring, angsty parts of the film with poetic psychodrama dimensions. /p>

Variety Jessica Kiang

BingMag.com Reviews and ratings of the Iranian film “Night, Interior, Wall”; Behind the bars of darkness and suffocation (Venice Festival 2022)

Nobody got out unscathed; The audience was the least affected by the film Vahid Jalilvand's disturbing "Night, Interior, Wall" is a horrifying and violent story about the effects of psychological damage that supporters of the government inflict on people in contemporary Iranian society, a society that is somewhere between the sixth and seventh floors of hell. An unusual and complex combination of a psychological thriller leaning towards a work of science fiction, a sharp critique of social collapse and a drama that shows the main character in a cage. Brave filmmaking applied to a story so brutally ominous that you wish it was just a little bit contrived to give you an excuse to ignore it. In his 2017 film No Date, No Signature, Jalilvand portrays a multi-layered society teetering on the edge of legality and morality. However, in this film, we fall completely into the gap and the only way out is what the filmmaker gives us.

Mohammedzadeh and Habibi are fully committed to their role, which seems to be a guarantee of work until the secret. The core of the film is revealed to be both extremely disappointing and strangely emotional, which evokes the sense of a cursory look at these mental disorders, but perhaps the main star of this distinctly scary film is Alireza Alavian's sound design, which is brutal and aggressive, especially in connecting the loops A time based on mental injuries that establishes the connection between the passage of reality in the cage of Ali's character with the fantasy in which he is less imprisoned. Of course, one should appreciate the face painting of the wounds and bleeding, as well as Adib Sobhani's photography because of the camera on his shaking hand, which is like a rough and sharp blade, which is also lovely. It detracts from the seriousness of the film's interesting ideas of how concrete prisons cannot completely confine us like prisons of body and soul. However, after more than 2 hours of sudden attacks, collisions, riots, shootings, beatings and endless trauma, some of the subtle points of the film's philosophy may escape you just as you tend to escape the film.

Indy Wire Leila Latif

BingMag.com Reviews and ratings of the Iranian film “Night, Interior, Wall”; Behind the bars of darkness and suffocation (Venice Festival 2022)

While the history of cinema is full of shows and flaws of disabilities, this new generation seems to be good at it. "The Sound of Metal" showed the deterioration and distortion of deafness with a unique sound design. "Night, interior, wall" has a similar approach to blindness with a thoughtful structure that takes us to the world of the hero and what he experiences and the tangible sense of what he has lost.

Mohammedzadeh Games And Habibi is great, with a display of fear and desperation that rains from head to toe. But when the narration of the film is shown, some of the answers given are not as interesting as the first questions. Also, the big ideas about losing the ability to see and monitor while you are being watched are not properly fed.

If we leave the darkness of the situation of the two main characters of the story aside, the brutality and cruelty of "night, interior, "Wall" has an artistic elegance, even in the most brutal architecture of a building, Vahid Jalilvand finds curiosity and beauty. This is the director's third film, but he films with the confidence of a master, with the ability to blend time and space with ease.

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