During a dramatic night, two young lovers run from hospital to hospital seeking for an help for some complications after their first time. They'll have to confront with the indifference of some doctors and avoid them to call their parents.
Previously dedicated to her job at a soon-to-close gas station, the subject devotes her last night of employment to some questionable acts, thereby reflecting the increasingly anarchic nature of the society around her.
Alone and far from home, The Kid makes his way through a strange city looking for the means to get through his day. Surrounded by predators he is forced to make compromises merely to survive, his life of exile grows one day longer.
Marta has acquired a piano from the local thrift shop and tries to return home with it on foot. Albert has been trying to tell Paula for thirty years that he loves her. A policeman dreams ... See full summary »
Has a real feel in the style, but the character, situation, and drama is too much on broad strokes
In Iran, a female student tries to find someone to look after her baby before her parents (who don't know about their unmarried daughter's baby) come to visit.
There is a worthy air to this film. It is Iranian (not a voice I hear a lot from in short films), it is based around the plight of a woman with a baby out of marriage, and it has a good authentic feel to it. However mostly it is this worthy feel that I took away from it – that it was a film that I appreciated or felt I should like, more than I actually liked. The film at first drops in small bits of information which hint at a background, but don't let it clutter the moment; I liked this as it left more space for the characters to fill. After a while though there is not enough character specifics to fill the film, and it ends up being the same as it was but in different ways. I didn't feel the characters were specific enough, or real enough, to provide a lot – make me feel for them, experience what they felt, and understand a lot about what I'm not seeing from small things they do.
I wanted the writing and performance to continue dropping small things to fill me in – but not just in the dialogue about practicals, but rather about the characters. Narghes does have moments where we see her worry, and the pain all this costs her – but they are too direct, and I didn't get this knitted into her fabric in the way it would perhaps be. I appreciated the filmmaking – the use of locations, the choice of shots, and lack of dramatic flamboyance, but it didn't hit my heart or draw me in. Interesting enough to watch as a detached observer, but this is all I was.
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