First of all, I have to admit that I have seen not many Iranian movies and not many Abbas movies. From the perspective of "The Lover Under the Olive Tree", it was originally aimed at such a seemingly romantic and poetic title, but why should something romantic happen under the mottled shade of the tree, love and hate entanglement, even if it is forever regrettable. Full of love is also good to satisfy the throbbing little thoughts. Hey, but there is nothing at all, not even the vivid image of the basic movie. From the beginning to the end, there are so few fixed camera positions, plus a few car-mounted shots, returning to the original kind of shots in the movie that belong to the "fourth wall". But the editing seems to be bland and not showing off skills, it should be said that there are no special skills used. (Simple ah simple!) But it was definitely a brainstorm in the limited shooting material. In addition, the soundtrack is fresh and agile, full of emotional tension and storytelling, and the large-scale use of color on the screen has an impact on the vision. So in this movie, this is definitely not due to the poor shooting conditions in Iran. What I saw Abbas had such an extreme pursuit of movies.
I saw two-thirds of the way through the film, and I first cleverly named the theme of "change" to the film. The design story took place after an earthquake, and it did not see the bleak scene that the earthquake caused to the lives of the local residents, which is similar to the life-threatening life of the local residents. A total of 65 people died, and the official statistics were 25 people. Earthquakes can be associated with words like turmoil, unrest, danger, life and death, etc., and then applying these words to the country of Iran should also work. Then look at the male protagonist Hussein (this name makes it a little difficult to think), the social status belongs to the illiterate peasant stonemason. Even so, he still hopes to make money through his own efforts to marry a literate girl, live a simple and equal life, educate the next generation well, and make the next generation have a bright future. He is against the union of people of the same family conditions, because it is an endless cycle where the good is not better and the bad is worse. Life can be spent in a powerful social subconscious mind. In any case, pointless resistance is futile, so we should be young with a mind for change. According to this logic, the director puts the story in the context of a natural disaster such as an earthquake, and uses the asymmetrical pursuit of love between men and women of different social status, reflecting a state that Iran has been in for a long time, and the pace of modernization reform stops and goes. , stumbling, problems, but still a good desire to move on.
And the heroine Taheri, I really don't know what to say. Rationally speaking, her thoughts are not shackled by secular values, but have an attitude of female autonomy in the new era. Repeated NG over and over again, not willing to add the word "Mr." Emotionally speaking, I also despise Hussein, chasing after women and talking a lot, without any substantial progress. But he has his own merits of integrity, which intersects with the low social status of women in Iran as a whole. Hussein can treat married life equally, know how to respect his wife, and plan a blueprint for his future life. Forget it, both of them are human beings who are pursuing new opportunities in life. It doesn't matter whether the flower of love blooms among them or not.
Finally, returning to the question at the beginning, what is the state of the close-up of the mind placed in time and space? Let it be openly owned.
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