Shab, Dakheli, Divar

Oh my god!

I can't believe just watched something like this!

Every single moment was absolutely spectacular.

Storyline just as good as can be .

Unique .

I've never seen movie like this before.

Character building was in high level of cinematography.

And when movie goes to end.

You can feel the sowrow which the main character been through.

And the relationship between Ali and Leyla was kinda like a real drama.

I wish i could watch this movie in high quality.

But i got everything that I need.

Music show the exact loneliness.which Ali has experienced.

And it was tengeable for audience:he is alone.

Despite all the brutal oppression and strict controls, the Iranian film industry never stops-it continues to expand its horizon impressively.

In a country where the totalitarian regime bans nearly every topic one might want to make a film about, Iranian artists still find a way to reveal the truth about life in Iran. They do so artistically and with extremely limited resources. One must also take into account the heavy state surveillance during filming.

Instead of overt political commentary, Iranian filmmakers tell stories from daily life-about ordinary people, in ordinary moments. They create incredible narratives using the camera as an honest, silent observer.

"Beyond the Wall" is one of those rare gems. All hats must be off to its astonishing script, direction, and acting. I must say, it has one of the most creative scripts I've ever seen. The scenes, the balance of dialogue, the flashbacks, and the dreamlike sequences are all harmonized within the film beautifully.

If you count the number of characters, you'll find only five or six, and most of the plot unfolds in a single location. Yet with such limited resources, it tells an extraordinary story.

For the entire two-hour runtime, Beyond the Wall is a masterclass in filmmaking. It makes you feel what a truly great movie is.

"Beyond the Wall" stands out in today's movie market. The film focuses on a visually impaired man living alone in a rundown apartment until he meets a woman fleeing from authorities. Once you hear "authorities," you truly understand its impact, especially if you've experienced life under oppressive regimes like Iran's. That might be why people under dictatorship feel closer to the characters.

The director, who also edited the film, skillfully maintains a simple storyline without unnecessary cuts, making the narrative easy to follow. As the story unfolds, viewers gradually understand the significance of objects, characters, and mysterious letters.

Trust me, "Beyond the Wall" is a satisfying watch that will stay with you.

In Vahid Jalilvand's tense and allegorical film, a blind man unexpectedly shelters a fugitive, illustrating the consequences of losing touch with our humanity.

Ali, portrayed by Navid Mohammadzadeh, contemplates suicide until a concierge informs him that a woman evading authorities may be hiding in his building. Unaware, Ali discovers Leila (Diana Habibi), a single mother separated from her son during a workers' protest.

As Leila seeks refuge in Ali's home, both become ensnared in a claustrophobic struggle for survival, revealing the depths of human connection amidst isolation.

Do yourself a favor, don't dig deeper and watch the movie instead.

What is truly disheartening is the instrumentalization of the film's reception by ideological factions-whether by hypercritical detractors of Navid Mohammadzadeh or regime-affiliated voices-who seek to undermine the film's merit through non-artistic, politically charged narratives. That said, while the narrative arc is undoubtedly masterful in its construction, the film suffers from a degree of directorial immaturity, particularly in the execution of certain scenes and in aspects of the editing, which ultimately diminish the work's full potential.

Moreover, although narrative ambiguity appears to have been employed as a device for layered meaning and interpretive depth, its misapplication at various points weakens the overall coherence of the storytelling and may be perceived as a structural flaw rather than a deliberate aesthetic choice.

The realistic yet striking and thought-provoking performances by Navid Mohammadzadeh and Diana Habibi serve to effectively compensate for the screenplay's structural shortcomings. While the script does not provide detailed backstories or a strong sense of emotional grounding for the characters, the nuanced portrayals by the lead actors successfully fill this gap-allowing an average cinema audience to engage emotionally and intellectually with the narrative.

What is perhaps most commendable is that, emerging from the context of Iran's cinema-marked by its artistic constraints, political pressures, and at times even a conceptual barrenness in protest narratives-the filmmaker, fueled by vision and conviction, has managed to craft one of the most artistically potent forms of dissent.

With the support of daring performances, Shab, Dakheli, Divar ("Beyond the Wall") may not be a flawless cinematic experience, but it stands as a lasting and thought-provoking work within the evolving landscape of Iranian cinema-a cinema still brimming with untapped potential.