As the presiding judge said, this is a small case of attempted fraud, and there is nothing to shoot. Just a little involvement of the accused with the film piqued the director's interest, which in turn satisfied the audience's curiosity.
From the beginning to the end, I can't feel the sense of trial of criminal suspects in traditional crime films. Under the documentary-style lens, Sabzian in court is more like a movie fan who confesses that the movie has brought changes to his life, rather than for himself. Defenders of exculpatory crimes are critical. The narrative formed from this film is full of emotion under the brushwork of Spring and Autumn. Also as a movie fan, seeing another movie fan resonate in the movie and want to express himself through the movie, even at the cost of losing himself, living under the aura brought by a movie is lovely and lamentable. Movie fans often want to forget the current life by building the time and space of light and shadow, or even escape the unbearable reality. From Sabzian's Bergman-esque dictation, we know that he is a proletarian, living a depressed life, he knows the hardships of life, reflects on social injustice, and he knows that movies can brighten life and make moods catharsis. After all, he is a kind man who loves life.
At the end, the director really rides a motorcycle and takes Sabzien to the plaintiff's house to repent, which really corresponds to Sabzien's original script for riding a motorcycle. There is an indescribable joy when the ingenuity in the film is actually formed in casual reality.
The flowers trembling against the wind are particularly moving. Abbas really knows how to use the "flower" props. When the final picture of the film was fixed on Sabzian with his head bowed and the pot of flowers, like "Where", a self-evident warmth and tenderness came to my heart.
View more about Close-Up reviews
