PUNTUACIÓN EN IMDb
7,9/10
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TU PUNTUACIÓN
Añade un argumento en tu idiomaAn ostrich-rancher, Karim, embarks on a journey to Tehran, a bustling city, to replace his daughter's hearing aid, a pivotal moment in his family's struggle for independence and cultural exc... Leer todoAn ostrich-rancher, Karim, embarks on a journey to Tehran, a bustling city, to replace his daughter's hearing aid, a pivotal moment in his family's struggle for independence and cultural exchange.An ostrich-rancher, Karim, embarks on a journey to Tehran, a bustling city, to replace his daughter's hearing aid, a pivotal moment in his family's struggle for independence and cultural exchange.
- Premios
- 7 premios y 2 nominaciones en total
Argumento
¿Sabías que...?
- CuriosidadesMusic's played in movie were often azeri or Turkish musics. Most of them Ibrahim taslises
- PifiasSpoiler: The ostrich that escaped is male. Therefore it couldn't have laid those eggs found in the field. Male ostriches are big and it's colors are black and white; females are small and gray. The last scene shows an male ostrich in a typically male mating performance.
Reseña destacada
Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time might be excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.
First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.
And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.
Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.
And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.
Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.
First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.
And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.
Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.
And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.
Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.
- crey014
- 24 jul 2008
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Detalles
- Fecha de lanzamiento
- País de origen
- Sitios oficiales
- Idiomas
- Títulos en diferentes países
- The Song of Sparrows
- Localizaciones del rodaje
- Empresa productora
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Recaudación en Estados Unidos y Canadá
- 116.372 US$
- Fin de semana de estreno en EE. UU. y Canadá
- 7863 US$
- 5 abr 2009
- Recaudación en todo el mundo
- 220.360 US$
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Principal laguna de datos
By what name was Avaze gonjeshk-ha (2008) officially released in India in English?
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