The 13th #法罗岛电影节# The 4th screening day of the main competition unit will bring you "I grew up in Iran", and here is the evaluation of the frontline Jasmine girls drifting around!
Mozart Lensu:
The transition from political freedom to gender freedom.
Jeremy Sun:
The price of freedom, the film is sincere enough.
George:
Relatively disappointed, I feel that I should not be the audience.
Bat Bats:
Animation often hits the soul more directly than live-action movies, and the stories of Iranian women continue...
The song is wrong:
Many years later, when she was far away from home, she always remembered the old days, the old scenes, and the promises she made.
Little Love Songs of Paris:
The oppression in Iran was fettered and even life-threatening, but the longing for freedom abroad has become the source of degeneration. Contradictions always run through.
Outisss:
Very unique animation, but there is still some blood in some places, but in this black and white abstract style, these shortcomings are a little insignificant.
Full of Zhao+:
The black fairy tale of feminism in Iranian history is like a porcelain kingdom in parallel time and space. The mind is liberated, but in the end all you can do is escape. Freedom comes at a price.
Matsuno empty pine:
Without the form of animation, like most political movies, the whole movie will be very crafty and mediocre, and childhood and Europe feel very separate, not just in content.
Jeff Jiang:
"We just want to have fun, and even forget that we are not free yet." The overall situation is not bad, I think the shortcomings are that they have been spread out a bit, and the content is only clicked to the end, only seeing the burqa on the body. , Did not see the burqa buried in his heart.
We Min Hee:
The part before going to Europe is perfect. When history happened, our feelings were small, but we were in it personally. After going to Europe, a series of feelings are all predictable and tacky. At the end, the posture was quite ashamed and embarrassed.
RIVER:
There are many wonderful pens, especially the thinking about freedom and self-discipline. The overview of the Iran-Iraq War is accurate and powerful. It is awe-inspiring for the objective stand that the creators adhere to, and especially loves the fate of small people in the first half of history. , With a joking sigh of truth.
Pincent:
A truly feminine epic, the story is beautifully integrated with the light and natural style. Of course, the form of animation and political issues cannot be easily dismantled for scrutiny. I strongly disagree with this kind of commentary. I also disagree with complaining about the perspective of the elite instead of paying attention to the bottom. Why pay attention to a country must pay attention to the most difficult part of others. This is rigidity and curiosity.
O. Yin:
Not only is it a running account, it is also a bad story that advertises itself in a special social context and carries a strong sense of preaching and selling miserable. The question of the film is whether the core tells the history of the struggle of individuals in Iranian society to find their own position, or does it present the social plight of Iran to everyone through the experience of one person? The actual situation is that through watching this film, I can neither understand any in-depth points of the problems behind Iran, nor can I gain spiritual empathy through the protagonist’s growth experience.
Bob_Chow:
Avoiding the most important, avoiding the complexity and simplifying, penetrates into Iran's distressing chaotic political situation, but the perspective is for such a lucky individual whose family life is quite complicated, and it seems convenient to use this as an excuse to describe the historical background. Pursuing freedom and democracy, but all expressions are Westernized. Going to Europe is keen on rock and roll. Iranian traditions and humanities seem to be out of consideration. The perspective is overly overlooked by the West, rather than deep into the ontology. The ending is too hasty and pale. The style of painting provides possibilities for many types of expression, but poetry is always late. Except for the flowers on the chest and the interlacing of the dreams of the two beliefs, the rest are mediocre. The feminist perspective is indeed direct and transparent, but it lacks a lot of complexity and depth.
No one at midnight:
Her father lifted her up high, shouting excitedly, "We are living in a historic moment", and then everything quickly took a turn for the worse; women were surrounded by burqas, turbans, and veils, and terror and slaying silently swept across this land. ; Even the love of rock music became out of place. She was sent to the other side of the world, but she was warned not to forget herself and her country; and in the "Blessed Land" of the West, she was free to fall into partying, love, and nihilism. Until she was awakened by the gunfire from afar and stung by the guilt in her heart, all the happiness she got was a forbidden fruit enjoyed as a survivor. In a simple sketch style that is not solemn, she is still unable to truly integrate into another environment, and she is struggling in her original homeland. The instinct for survival and the higher-order pursuit of human beings are two sides, making her a different Belongs to any kind of heterogeneity. She left twice, one was passive refuge, and the other was self-escaping. This image made me think of Yu Hong, "Freedom always comes at a price."
Bwheat19920313:
On the basis of the original unique animation format, it also adds an abstract style similar to Picasso, which makes this original story of a bit deliberate and dog-blooded if it is made into a live-action version. People find it strange. In fact, the overall film is a bit different from what I thought. There is no endless accusation against the government in power as in some similar movies. In fact, it is more like watching Iran and the entire Western world from a girl’s private perspective. everything. It naturally expressed anger and dissatisfaction with that inhumane era, but it did not fully approve the seemingly prosperous Western society, but with its own rational cognition. So she replied "I am from Iran" at the end of the film.
In fact, no matter where you are in the world, no matter what kind of society you are facing, the important thing is how you treat it yourself and how to make your life as fragrant as jasmine, not what you are actually in. Where, in fact, you don’t belong anywhere, you are yourself.
#FIFF13#DAY4's main competition score will be released for everyone later, please wait and see.
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