Khaen-koshi

Mehran Modiri is brilliant

The role of Sohrab Safa, who seems to be walking on a tightrope from the heart of the persona, and his demeanor is reminiscent of gray roles. Roles that are neither absolutely good nor absolutely bad. Where he has to love, it is as if he is a permanent lover, where he has to do politics, it is as if he is a teacher of politics, where he has to find an image of a benefactor or savior and supporter, he acts as if he is absolute benevolence and far from evil and it is in this situation that he finds an image close to a godfather. It is as if all the classic memories in mafia movies are paraded in front of the viewers to reach a collective perception of such a role.

When Sohrab looks, he puts a cigarette on the corner of his lips or when he tries to look like a godfather and a shadow leader, it is as if he has become Don Corleone or Al Capone who has launched a big curtain of theft and is sitting alone watching the campaign. Although Kimiaei and Modiri got together late, they magnificently portrayed their relationship story on the screen.

This movie is not a romantic movie by nature, but its few short romantic sequences with the brilliant performances of Mehran Madiri as Sohrab and Sara Bahrami as Atlas are the best romantic sequences of Iranian cinema and one of the best romantic sequences in the history of cinema.

Amir Aghaei also acted very well in this movie and the sequence of Mehdi's escape from the hotel with his performance is one of the best action and excitement sequences in Iranian cinema, which shows that although Kimiaei has a harsh language and ambiguous storytelling, he captures the image better than any other director in Iran.

The technical part of the film is remarkable. The stage design, costumes and cinematography are excellent.

The script and dialogues are vague and fragmented, if it wasn't for this, this would be the best movie of Iran in recent years.