Part of the Khoon Shod film’s story is about a second wife and a mother who is responsible for caring for her husband and daughter.A woman who has special authority and femininity sacrifices for her family. She is a long way from her husband and is very worried about her home, wife and children.
khoon shod Became is the title of Masoud Kimiaei’s new work, which went in front of the camera in the presence of famous figures of the art world today in Tehran.
film khoon shod Became, directed by Masoud Kimiaei and produced by Javad Norouz Beigi and starring Saeed Agakhani, Nasrin Moghanloo, Siamak Ansari, Leila Zare and Hooman Bargh Noord, was screened at the 38th Fajr Film Festival.This movie is from Nowruz 1400 screenings.Synopsis: The story of “khoon shod” is like an old house with all the lights off and no one living in their rooms.Meanwhile, one of the residents of this house comes and turns on all the lights.
khoon shod Became is the name of a film written and directed by Masoud Kimiaei, produced in 2009.The film was scheduled to be screened at the 38th Fajr Film Festival (2009). Savadkuh, Ghaemshahr and various areas of Tehran (the alleys of Rey Street, the director’s birthplace) are other “khoon shod” locations.
Masoud Kimiaei, a well-known director who has made a film about deer in his artistic career, mentioned in a conversation about the story of “khoon shod” a few months ago that “khoon shod” is like an old house with all its lights off and no one He also does not live in his rooms. Meanwhile, one of the residents of this house comes and turns on all the lights.
The cold and stagnant days of Iranian cinemas continue and everything has been affected by the Corona virus. For more than a year, Iranian cinema has been trying to get back on track, but apparently the corona outbreak has not stopped, and cinema, like dozens of other thriving jobs, has run into a number of problems, including its economic cycle. Approach the border of destruction.
In this situation, the wrong choices of officials and unprofessional decisions are further caused; As in these days, the three popular films “Butterfly Swimming”, “Sun” and “Seeing this film is a crime” were burned due to trial and error by the authorities.
However, the failed cast of Nowruz 1400 had another unfortunate point, and that was Masoud Kimiaei ‘s film “Khoon Shod”; A filmmaker who has been dubbed the great loser of the Corona and has disappeared with the least possible re-closing of cinemas; So much so that even the producer of the film has expressed surprise at the cold reception of the audience and the disappointing sales of this work.
This is a common dilemma in Iranian cinema in recent years that cinema fans have a strange feeling when watching the new works of veteran directors.In general, people with a glorious mental background sit at the feet of new films by prominent directors such as Masoud Kimiaei, Dariush Mehrjoui and Kiomars Poorahmad; But what they see on the screen is inconsistent with their expectations.
Of course, there are exceptions, and the fascinating film “Ferrari” directed by Alireza Davodenjad is one of them. However, the filmmaking giants of previous decades seem to be on the decline and are not even able to satisfy their own two-fire fans.
Cinema people are usually divided into conservative and critical groups in dealing with such works by these famous filmmakers.The first group believes that we should keep the sanctity of the history of these veteran artists and, after a lifetime of continuous effort and creation of lasting works, adjust our tone about these people.Conservatives often use the phrase “Even the best filmmakers have bad films” to justify their positions and forget that some of our country’s oldest filmmakers, despite being busy for more than a decade, even a mediocre film. They have not made.
The other group, however, believes that the task of critique requires us to beat weak films and criticize the creators of such works; Even if they are the creators of “Caesar”.However, moderation dictates that we examine the work of a filmmaker, one by one, as a critique, and as we praise the masterpieces of an artist, we also bring to him the weaknesses of his work.The critic is not allowed to forbid anyone from continuing the path of filmmaking or to speak in a foul language; But the low quality of the works produced can not be easily overlooked.
Dialogue writing “khoon shod” is also a very strange case in its own right; Because the tone of people and their sentences are completely artificial and have almost no relation to the environment.
The dialogues embedded in “sentence” films are imposed on the characters in this filmmaking, and this adds an unrealistic gesture and even an unwanted comedy to them.
The characters in this film seem to live in the present and in Tehran, but they speak with strange literature that is not common anywhere in this country and unfortunately does not belong to any specific historical period.
The graceful character at the center of the “khoon shod” is, in a sense, the emperor of today. We have nothing to do with the fact that it is unreasonable to expect Saeed Agakhani to play such a role, but the same established character of the traditional hero has not appeared in the film at all, and not only has no character been formed, but Fazli remains an icon and does not reach the brigade.
Fazli has an unknown past and it is not even clear why he has been absent for some time. His family situation and status are almost obscure, and surprisingly he does not even have a close friend to accompany him.
Add to this the fact that the first role of “khoon shod” appears almost insensitive and the audience finds no way into his mental world; It is as if he were a security officer tasked with resuscitating a family and returning to his organizational post.When this is the situation of the main character and hero of a movie, naturally we can not expect from other people.
Leila Zare is hiding behind a big mask and a talented actress like Siamak Safari is in a situation that, considering the confusing atmosphere of that strange mental sanatorium, looks crazy.
The strange method of quitting addiction in “Khoon Shad” has made the character of the doctor, played by Siamak Ansari, a ridiculous creature, and of course the important sequence of the film and that incredible blast of knives is a nail in the coffin of the record of one of the best filmmakers in the history of Iranian cinema.