Mehdi-Salehi

Mehdi Salehi Cinema Critic The film "Insha Allah, a Boy," directed by Amjad Al-Rasheed, is not only a cinematic work, but also a social statement that has transcended the boundaries of Jordanian cinema. The film, which was accepted as the first Jordanian film in history at the Cannes Film Festival, tells the story of Nawal, a widow who, after the sudden death of her husband, is embroiled in an unequal battle with her brother-in-law and Jordan's patriarchal legal system.

In her first directorial experience, Al-Rasheed, inspired by personal experiences and the story of one of her relatives, has created a work that is equal to the works of experienced directors in terms of depth of content and power of execution. During the research and production process, she spoke to many women to gain a deeper understanding of the problems of women in Jordanian society, and this attention to detail and social realities has given the film depth and credibility.

The screenplay, co-written by Al-Rasheed with Delphine Agot and Rola Nasser, presents a multi-layered, character-driven narrative. The story not only deals with the central issue of Nawal's struggle to maintain ownership of her home after her husband's death, but also explores other social issues, including social class, family relationships, and social pressures. This delicate balance between the personal and the political is one of the film's main strengths.

Aesthetically, Al-Rasheed takes a realistic and detailed approach. The use of limited and compact framing effectively conveys the main character's sense of being confined within the social system. The emphasis on silence and long shots of Nawal's face allow the viewer to connect more deeply with the character's inner feelings. The set and costume design are also carefully chosen to reflect the characters' class and cultural differences.

Mona Hawa's performance as Nawal is one of the most brilliant performances in Jordanian cinema in recent years. By relying on body language, meaningful glances, and meaningful silences, he has been able to portray the different dimensions of Nawal's character with remarkable delicacy and depth. The scenes where Nawal silently struggles with herself or reacts with her gaze are some of the most memorable moments in the film.

The film is also rich in symbolism. The cracked mirror in Nawal's house is a symbol of her broken identity and shattered image. The bra that falls from the clothesline in the opening scene and is picked up by a stranger symbolizes the violation of privacy in Jordan's patriarchal society. Nawal's deceased husband's pickup truck symbolizes mobility and independence, and the rats seen in the house symbolize the threat and fear that constantly affect her life.

"Inshallah, a Boy" is strongly influenced by the school of feminism and deals with concepts such as women's independence, resistance to patriarchy, and the search for identity in a patriarchal society. The film addresses the issue of unjust laws in Arab societies and shows how these laws marginalize women and deprive them of their basic rights.

This work is considered a revolution in Jordanian cinema. Not only was it accepted as the first Jordanian film at the Cannes Film Festival, but it also dared to address taboo topics in Arab society.

Although the film overdoes some symbolism, for example, all the men shown have moral and spiritual problems, even Hassan, who apparently wants to help Nawal, but in fact has fallen in love with a married woman, or the dirty and garbage-filled streets symbolize the primitive lifestyle of the people of the Middle East, and these themes and exaggerations have led to the admiration of Western critics and its acceptance at the Cannes Film Festival.

Overall, this work increases hope for the future of Jordanian cinema and shows that cinema can be a powerful tool to challenge social norms and create change.

Mehdi Salehi Cinema Critic 1. Film Summary: War Between Demons and Angels This animated feature follows K-pop girl group HUNTR/X - members Romi (leader), Mira (dancer), and Zoey (songwriter) - who double as demon hunters. Using musical magic and enchanted weapons, they battle demons threatening the human world. The conflict intensifies when rival boyband SAJA BOYS, controlled by demon king GUIMA, seeks to destroy the Golden Unity (positive energy generated by fans).

Romi, the half-demon protagonist, falls for SAJA BOYS' leader Jinu. Her conflicted loyalties spark a war between duty and desire, culminating in her harnessing her demonic heritage to weaken Guima.

2. Character Analysis: Identity vs. Choice Romi: Heritage vs. Choice Her purple hair/eyes (turning crimson when enraged) symbolize dual identity. Her arc from obedient hero to someone embracing her darkness mirrors the Hero's Journey myth structure.

Mira & Zoey: Suppression and Joy Mira's sword represents repressed anger. Her backstory as a problem child forced to control her emotions critiques societal expectations silencing women. Zoey weaponizes happiness through rap. Her move from California to Korea embodies the multicultural search for belonging.

Jinu: Victim or Villain?

Unlike true demons, Jinu is Guima's exploited puppet. His leadership stems from revenge against a society that shunned demons.

3. Music: Emotional Weaponry Songs drive the narrative: GOLDEN: Celebrates angels defeating demons. Its self-love lyrics manifest the Golden Unity barrier against evil when Romi performs it.

FREE: A human/demon love duet (Romi/Jinu) addressing imposed identities and K-pop industry constraints, highlighted by bilingual English/Korean lyrics.

SODA POP: Satirizes the music industry's commercialization with deceptively sweet lyrics.

4. Color Symbolism: Visual Contrasts Purple: Romi's duality (blue = human peace; red = demonic danger). Shifts to red when darkness dominates.

Gold: The Golden Unity fan energy bathing group-unity scenes, symbolizing collective resistance.

Black/White: SAJA BOYS' monochrome outfits expose entertainment industry artifice. Their true zombie forms emerge as neon battle explosions (pink/turquoise) transform violence into a light dance.

5. Strengths & Weaknesses Strengths: Genre-blending (musical/action) Episode 6's romantic climax (Jinu protecting Romi during FREE reportedly moved BTS's Jungkook) Cost-effective Korean webtoon-inspired art style Weaknesses: Underdeveloped supporting characters (Mira/Zoey sidelined; Mira's past reduced to one scene) One-dimensional villain (Guima's sole motivation: human hatred) Jarring tonal shifts (e.g., Zoey's comedic popcorn tears clash with dark themes)

6. Mythological Symbolism Smiling Tiger: Guardian spirit from Goguryeo mythology linking ancient legends to modern battles.

Gat-Wearing Bird: Represents cultural preservation against globalization.

7. Psychological Archetypes Romi as Jung's Shadow: Her demon half-society's unwanted aspect-becomes her power source. Mirror-sequence acceptance symbolizes psychological integration.

Mira's Repressed Rage: Her sword cuts through cultural restraints silencing women, embodying Freudian release.

8. Social Commentary Music Industry = Modern Hell: SAJA BOYS (Guima's puppets) critique exploitative label contracts. Jinu's line You're just a puppet like me! Condemns creative suppression in K-pop.

Golden Unity Against Xenophobia: Fan-built barrier challenges isolationist politics. Closing line: Let differences be our shield, not weapon! Rejects cultural discrimination.

9. Conclusion K-pop Demon Hunters transcends musical animation to advocate radical self-acceptance. Despite narrative flaws, it redefines adult animation through original music, layered symbolism, and psychological depth. Its triumph? Making audiences weep (as Jungkook exemplified) with one potent message: Love every part of yourself-even your darkness.

When Your Phone Decides Life and Death

By Mehdi Salehi Cinema Critic

The film "Drop" (2025), directed and written by Christopher Landon, is a cinematic experience that leaves you breathless and keeps you glued to your seat until the very end. Classified as a psychological/technological thriller, the movie tells a story of loneliness, fear, and the struggle for survival in a world where the boundaries of privacy and security are increasingly blurred by emerging technologies. Drop is not just a gripping thriller but also a deep exploration of human psychology and the challenges posed by digital threats and the lingering scars of past trauma.

Christopher Landon, previously known for his horror-comedies like Happy Death Day and Paranormal Activity, takes a different path with Drop, proving his ability to craft a pure, suspenseful psychological thriller. He masterfully blends classic thriller elements with contemporary themes of technology and social media, creating a film that is both narratively engaging and thematically thought-provoking.

The screenplay, written by Jillian Jacobs and Chris Roach, boasts a strong and intelligent structure. The core premise-a woman facing an unknown threat during a date, forced to comply with demands to save her loved ones-has high suspense potential. What sets Drop apart, however, is its execution. Landon and his writing team use AirDrop (or DigiDrop) as the primary tool of threat and communication, seamlessly integrating the idea with the digital age. This choice evokes a sense of familiarity while simultaneously instilling terror. Anonymous messages, threatening memes, and relentless instructions sent via smartphone create an atmosphere of constant dread and anxiety.

A strength of the screenplay is its gradual escalation of the threat while maintaining its mystery. Initially, the messages seem playful, but they grow increasingly sinister and deadly. This rising tension, combined with spatial constraints (the entire ordeal unfolds in an upscale restaurant) and time pressure (the urgency to follow orders quickly), heightens the suspense. The film also strikes a fine balance between thriller and personal drama.

The beating heart of Drop lies in the brilliant performances of its two leads: Megan Fahy as Violet and Brandon Sklenar as Henry. Fahy, previously acclaimed for her role in The White Lotus, delivers a stellar performance as Violet, a single mother and survivor of domestic violence. She portrays a wide range of emotions-fear, anxiety, maternal love, and sheer will to survive-with nuance and depth, fully immersing the audience in Violet's nightmare.

Brandon Sklenar, as Henry, Violet's new love interest, is equally compelling. At first, he plays a calm, thoughtful, and empathetic man trying to understand Violet. But as the story unfolds, his character takes on darker dimensions. The chemistry between Fahy and Sklenar is electric, creating a believable yet tension-filled dynamic that drives much of the film's appeal.

Supporting characters, like Violet's sister (Jen, played by Violet Bean) and the restaurant waiter (Jeffrey Self), are well-developed, adding depth and realism to the story. They serve as potential suspects or sources of dark humor, further enriching the film's suspense and complexity.

The setting-the luxurious, modern Palate restaurant-plays a crucial role in shaping the film's atmosphere. What begins as a symbol of elegance and a pleasant evening slowly transforms into a claustrophobic, anxiety-inducing trap. The director and production design team use lighting, camera angles, and décor to amplify the sense of surveillance and entrapment. Reflective surfaces, dark corners, and theatrical lighting all contribute to the unease.

Bold graphics displaying text messages and emojis add a fresh, cinematic flair. These visual elements not only enhance the film's style but also quicken its pace and convey information efficiently. Every frame is meticulously composed to heighten Violet's sense of confinement, pulling the audience deeper into her ordeal.

Beyond being a straightforward thriller, Drop delves into deeper psychological layers: Fear of the Unknown: The film taps into modern anxieties about digital threats, where personal data is vulnerable, and trust is fragile.

Survivor's Resilience: Violet's past as a domestic abuse survivor informs her reactions, showcasing human endurance in the face of adversity.

Technology's Dark Side: AirDrop, a tool meant for easy sharing, becomes an instrument of torture and control, prompting reflection on digital privacy and misuse.

Trust in the Digital Age: The film highlights the challenges of forming genuine connections in an era of online relationships, where first dates can be fraught with suspicion.

Power Dynamics: Violet, once a victim of abuse, finds herself again at the mercy of an unseen, powerful figure, illustrating recurring struggles with control.

Aesthetically, Drop is a skillful blend of classic thriller techniques and modern visuals. Dramatic lighting, precise compositions, and tight editing sustain the suspense. The restaurant, initially a safe space, morphs into a dangerous labyrinth where suspects hide and clues emerge.

The film's underlying themes go beyond a simple hostage scenario. Drop can be read as a commentary on women's psychological struggles in a patriarchal society, where threats are ever-present, and survival requires constant vigilance. It also serves as a reminder that technology, meant to connect us, can isolate and control. Ultimately, the film suggests that confronting fears and fighting for liberation is the only way to break free.

Drop boldly redefines the thriller genre, marrying it with contemporary concerns. Landon's sharp direction and the intelligent screenplay make for an entertaining yet thought-provoking experience. The powerhouse performances by Fahy and Sklenar, combined with immersive atmosphere and relentless pacing, cement Drop as one of 2025's best thrillers.

Of course, no film is flawless. Some may argue that certain plot details feel contrived, the villain is somewhat clichéd, or the first half drags slightly. But these minor flaws pale in comparison to the film's strengths. Drop succeeds in crafting an environment of palpable tension while telling a deeply human and impactful story.

In the end, Drop is more than just a thrilling cinematic ride-it lingers in the mind long after the credits roll, prompting viewers to reflect on their relationship with technology, security, and survival in an increasingly complex world. It's a powerful reminder that in the digital age, threats can emerge from anywhere, but the human will to survive-and to break free-is stronger than any obstacle.