Even until the last quarter, the film has been used as a film with human-spiritual elements, more or less and bearable (for one viewing), although it is not an outstanding film at all and does not even have a fresh look. Reza Mirkarimi and Mohammad Mahdi Asgarpour and even before them, Mr. Mojtaba Rai had brought this style of filmmaking to its peak, especially with the movie "Birth of a Butterfly". However, "Abi Roshan" was a watchable movie until the last quarter, with some spiritual "now" moments and of course without the not so flowery slogans. But when we find out that Ayub is Yunus' brother and that way of exchanging information directly to the audience in the dialogues of the two, the film faced a huge drop, because suddenly some exaggerated and irrelevant elements were pinned to it. This decline is completed by Yunus' baseless, irrational and even ridiculous decision to take responsibility for the crime that apparently happened. This issue can even be considered as the police organization and judicial system, which are very advanced, skilled and professional at least in the criminal field. The point that questions the entire logical basis of Yunus's behavior is that he decided from the beginning of the film to help him by finding the fugitive young man and get his consent for him, and it is clear from the evidence that he has this power and credibility. So, basically, what justification, argument, and justification does this "necking" rely on, at the cost of dishonor and a crime-like stain on one's case? Secondly, in committing "murder", the most important element in analyzing the case is the discussion of the "motivation" of the killer. On what basis could Yunus steal his own turquoise from his mine and kill a weak and sick old man (who is his confidant and foreman) for it? Inserting this really ridiculous and irrelevant element of "necking" was more like a suicidal move to destroy the rest of the film's technical and content credibility.
