Before the Olive Tree: No Lover

London 2022-04-19 09:02:45

In my movie library, there are really not many Iranian movies, but I have seen a few before, such as "Taxi", "A Farewell", "Little Shoes", "Salesman", "About Yili", Including the cartoon "I grew up in Iran", I feel that Iranian films are few but refined, with a simple and sincere style, very distinctive and impressive, and some plots are even more unforgettable.

"The Lover Under the Olive Tree" is also an impressive movie, but, unlike the above movies, it is deeply impressed because of the unbearable repetition from beginning to end, rambling nonsense and dullness . Without a strong will, it is difficult to persevere in watching this movie.

On the contrary, the rich and poor, landlords and peasants, the homeowners and the proletarians, the illiterate and the literate complement each other's advantages, and the mutual cooperative marriage concept advocated by the film is quite surreal.

The lover under the olive tree has finally become a transcription under this concept. The audience in front of the olive tree, I am afraid that they will not like this movie at all.

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Extended Reading
  • Coralie 2022-03-17 09:01:08

    After watching the film in Cannes, Godard said: "The film begins with Griffith and ends with Abbas." This time, Abbas constructed another director. We saw a certain sequel. This segment became the set of this film and was repeatedly filmed. The "reality" of the sequel was shattered again, thereby constructing a reality. However, the real reality is a trilogy filmed by Abbas. Progressively, true and false seem to be no longer so important.

  • Emmanuelle 2022-03-19 09:01:09

    The first part wins in "gaze", the second part wins in "tonality", and the third part wins in "grammar". After Manet opened the fourth wall of the painting facing the audience, Abbas opened the confined space of the film. Greatly ahead of the many works later called "Metamovies", Abbas did not just reduce the medium to another object, subjectively presenting the filmmakers, but first constructed a self-sufficient four-dimensional model, and then By opening the way to the audience and destroying the integrity it contains: the body and force of the medium are forced to appear. In the third narrative, everyone is given at least two layers of polyphonic identities. Ahmad appears as a media rebel who has passed through two layers of media and temporarily resides in the third layer of reality. In this magical methodology, what is moving is not only the people and scenery depicted by the medium, but also the medium itself. It is the reason why fans love movies more and more, and it is also the freest hymn that Abbas gave to movies.

Through the Olive Trees quotes

  • Hossein: Mam, I'm really sorry. I want to do everything you ask me, but I won't do masonry. I don't work in construction anymore. I came to act in your film. I will work as an actor, but not as a mason.