Sheytan vojood nadarad

Modern day iranian filmaking,, this is a bold try,the message delved deep inside a maze of 4 loosely connected stories intoo a whole where regimecritizism is on the agenda. its a beutiful filmographic piece of the art, that may not reach a westeners expectations when viewing it, but its really a roar against the shahlalalalalalala( like the chorus in a bjørn eidsvaag song) shia government of good old persia, todays iran. its a very slow plotted movie, but i guess thats done with a great sense.

its a film about the nations 20 months military service, its about death sentencing, its about being locked up when doing your duties on others locked up, its about political refugees, and its about human relations of many levels, and its view on human rights.

in my opinion its the first part that make the deepest imprint on my mind, just compare the hypnotic effect of the traffic lights colours on the main caracter in this chapter.

the actors are just eminent in their job, dead natural over the whole line, and i really appreciate that the women may show their beautiful faces to the world, compared to other muslim countries. its just not a film for everyone cause its slow and its political, but if interested in iran and persian filmaking this is good stuff thinks the grumpy old man

This is one of the best movies of this year. After denouncing the corruption system in Iran, Rasoulof targets the death penalty. He doesn't seem very bothered by the censorship or the jail sentence against him. The film is beautifully shot, and the stories are cleverly told, depicting four different ways to be a victim to death penalty as an executor.

The rhythm and rate of movie is a little bit slow but, episodes are well timed. The movie is about responsibility of our actions, said the writer and director m.rasoulof. There are 4 episodes in the total runtime of 150 minutes,each one's quite independent of other episodes. In summary the movie is well-made, with a lot of eye catching scenes and touching twists. Combinated by outstanding performance of actors.

Just think of this work as the director is completely banned from any form of action and refused to coaprate with a system he did not believe in. So the recordings was quietly done in Iran before the film maker goes to jail for his civil disobedience and protest.

This was some of the finest acting in film I've ever seen. Some of these scenes I felt guilty watching because I felt like I was actually there and spying on them.

Every act was thought provoking and perfectly executed. Some of the scenes were masterpieces of visual art. The girl standing against the wall of the house with her red boots blew my mind at how visually perfect it was and reminded me that scenes like this are not common in film making anymore.

This is the film to watch when you're tired of superficial films and want to watch something deeper with substance and fine acting.

I'll be looking for more from this director and these actors and actresses.

It was philosopher Hannah Arendt who wrote about the 'banality of evil': those who commit the cruelest acts can be the most ordinary human beings. This is impressively shown in the first chapter of 'There is no evil'. A perfectly ordinary man drives home, parks his car, helps his neighbour, showers, watches television, picks up his wife and daughter, goes shopping, etcetera. When he drives off to work the next day, he hesitates when the traffic light turns green. In the final moments of the episode, the viewer understand why. The shocking last scene turns everything that came before upside down. This is film making at its best.

The other three episodes deal, in different ways, with the same issue: capital punishment. Director Rasoulof is not interested in legal dilemmas surrounding the death penalty, he only shows the consequences it can have. He focuses not on the question if capital punishment can be justified, but on the moral difficulties of those who keep the system running, or who are forced to do that.

The four episodes are quite different. The second one feels like a thriller, the third one like a romance and the fourth like a mystery story. Sometimes the death penalty issue is presented at the start of the episode, sometimes it is only revealed at the end. The four episodes have in common that they are expertly and beautifully filmed. Rasoulof's style is understated and I think most western film makers wouldn't be able to show this much restraint, when dealing with a subject such as this.

The fact that Rasoulof has been convicted for making this film, adds an extra dimension to it. But apart from the political importance, in its own right this is a showpiece of cinematographic craftsmanship. Once again an example of superb Iranian film making.