Gone With the Wind is, in one word, "headless" (as is the case with Abbas's country trilogy). Every time my grandma watched a TV series, as long as it had an open ending, she would scold it for being clueless. I was speechless to her, but in essence, I was also like that, eager to see a specific and complete narrative in the movie. The origin, development, climax, reversal, decline, and end of the story must have clues and logic. This habit is cultivated since childhood, including the clear separation of the protagonist and the supporting role, the good and the bad. But life doesn't really make sense, it's headless, headless, boring, trying to recreate life and put it on the screen must be very hypnotic, not to mention that it can't be a story at all, when, where, who ,how don't know anything, only see the turtles that can't turn over, the rams that mate, the wheat waves blown by the wind, the blue windows of the dirt house, the singing of the people who dig the well... . In this kind of sticky and wet weather, it is easy to think of a roadside picnic when watching a large section of long shots, but the dryness and brightness of Hamadan are too eye-catching and too boring. The Iranian literary film does not violate the harmony. There is no sense of force, poetry belongs to everyone and flows in everyone's life
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