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Irreverent city engineer Behzad comes to a rural village in Iran to keep vigil for a dying relative. In the meanwhile the film follows his efforts to fit in with the local community and how he changes his own attitudes as a result.
Roushan Karam Elmi
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An elderly couple go about their routine of cleaning their gabbeh (a intricately-designed rug), while bickering gently with each other. Magically, a young woman appears, helping the two clean the rug. This young woman belongs to the clan whose history is depicted in the design of the gabbeh, and the rug recounts the story of the courtship of the young woman by a stranger from the clan. Written by
Mike Myers <email@example.com>
Life is color, says one of the characters, and the dominant after-impression here is of the stunning array of bright hues; stamped against the desert like distinct life forces. In an early scene, an old man instructs a class on the colors of nature - reaching his hands outside the frame as if godlike - he touches the sky, and his hands come back blue; he stretches toward a meadow, and brings back flowers. It's too sincere and straightforwardly beautiful to be dismissed as a conjuring trick, and the film can't be regarded simply as a pictorial exercise, partly because it's just too difficult for that; the narrative is as subtle and allusive as the mastery of its dominant image - the carpet weaving. For example, when a young girl is killed while going after a kid goat on the mountain, it's symbolized simply by the rolling of a ball of black wool toward her sister; the ball then tumbles into the water and away. It would take a second viewing though to comment with confidence on all that actually happens in the film - narrative clarity is secondary to the nomadic wandering of the tribe, and above all to the film's impeccable visual design. Presumably enjoyed by western audiences mainly as a cultural digression; a lush window into another world, but I wonder how many of us are equipped to see through that window clearly.
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