A young woman who was broken with the expansion of Armenia

Copyright W-Film




The Roadmovie is shown in Widerstand and an intact reality. Grandioses Iranian Kino: Art permeates Mut, Aggression and Sacrifice. Do you want to be radical for the German Filmemacher?


“Fuck you!!!” – the back part of the young woman will come into the country and the power of power. If the business of the entrepreneurs and the opportunities, the profit and the silent teilhaber, the passion and the profit are the first regime of the government and the power of the regime.



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Fuller Wut is the young woman, the roaring one. Euphoric, a lot of loss in your energy. If you hang the waiter, a extinguisher is now light and straight transparent, from the Fenster. And for all people it is an undisputed head with long hair.


You can do so with your hands outside your hands. An iconic image, a visual statement for Willenskraft and Aufbehren, for Freiheit and Hedonism.


Echolaute von Aufstand and Wut


If the car is with the young woman, the stewardess (die Leistung der Schauspielerin Shirin Abendinirad ist van herausragender Intensität; so etwas hat man selten im Kino gesehen), and cannot eat a pair of black Geschäfte gemacht hatte, fährt directly for them hell erleuchteten Tehran Airport available. Pilots are not verboten, Iranian flight attendants are not allowed.


“Fuck you!!!” – if it is a man who is one thing, the man cannot say, the man says more, a wahrhaftig zu bleiben.


The young woman and other figures of these films may not first say “Frau Leben Freiheit!”, Then Faser dieses Bildes, jede ihrer Bewegungen, das Tempo und Augenblick dieses Films sagen das schon. It’s a great experience and yet a great echo when you get up and you’re lost. The biggest risk is that your Schleier doesn’t fit properly.


Das Iranian Kino says, was Art bedeutet


“Fuck you!!!” – a man can nehmen a Beispiel und dieser Art von Widerstand, een solch’ einem Bildakt. If the Mullah regime starts with the German, with European interpretations in mind, it may be that all German and European filmmakers learn here.


Fast jedem is gegenüber schüchtern, has its learning, that art, which is gut, that “edgy” signal wants, it costs and costs a lot, has learned everything, aggressive and wütend. became biscuits. Here it wouldn’t be like that, and we could use the Iranian Kollegen tags.


Das Auto is a Seltener Freiraum


“Critical Zone” takes place quickly in a car; so who is the best movie of iran.













Copyright W-Film






It is not a Zufall, the car is a seltener Freiraum, an indefinite Zwischenort in a grundsätzlich repressive Land, that all Orte morally exactly marks and säuberlich zwichen Erlaubtem and Verbotenem unterscheidet.




Political Fable with existential souls Untertönen


In that autumn, it is a small Drogendealer named Amir, who, during the night of Tehran, appeals to love, the enjoyment of all kinds of things, the material he imagines, and makes use of it.


It is a film that takes a real journey as a political fable with existential films, and in the human being, which most women begin to live with their lives.


Iranian Director Ali Ahmadzade said in the drift of the Abbey, there was a plastic visual image in the Geometry of the Metropolis, where the dialogue was enhanced in a stronger way.













Copyright W-Film






The film that plays at night is here a unique dunkler Nicht-Ort. If you don’t see any Tageslicht, and the film has appeared on the story of the einsamkeit in the first person, while Amirs have no conversation with anyone, that is the hinausgeht, it is the woman in the taxi, and is practically the entire film über alone ist.


Seen nach Freiheit


Die Sehnsucht nach Freiheit – more expressive as discursive – could be sold in spielerischen visuellen Spielen und Klangstrategien. As a minor player the Grausamkeiten of the Verfolgung and Zensur-darstellt, when man sich erlaubt, a einem Ort der Unterdrückung a formal friend film zu drhen.


Achsensprünge and other “forbidden settings”, unaltered camera movements or montage games, the Dissoziation of Ton and Bild serve the Director dazu, one of the inner Sisters of the Figures hinzuführen, whom a robot-like GPS-Stimme Amir diktiert a carefree Anweisungen in seinen Kopf.


If the long breath of the long breath continues, it is no longer a mediocre flow of air, but an irrigation of a forward movement before the start; An analysis of the same ritual moment, the figures of the vereinen and als verdammte, who warten on the Erlösung or the importance of Zukünfte, a different gleichstellen.


Ohne Genehmigung der Behörden gedreht


“Critical Zone” is a hallucinatory road movie. A film that is no longer represented by the Tehran-fährt, in the comradely, by static images, classical compositions and a surprising representation of the farbbehandlung.


Ahmadzadehs experimented with forms in the Abgründe one of the Iranian Gesellschaften, which are so large and cut a messianic figure.













Copyright W-Film






Under a despotic, theocratic regime, the secrecy and compliance of the rules of conduct – and the Drehbuch stemmt vom Regisseur himself – everything inherits the oppressive atmosphere of a totalitarian regime. Be that as it may, the fear and the strangulation are in the beginning of the struggle, after the rebellious forces have risen, the trotz is under pressure in life in a wider struggle.


One Film, der die Schablonen was created


Director Ali Ahmadzadeh worked for “Critical Zone” 2023 in Locarno with the golden leopards.


A price that a film is worth, which the films and the templates have received, with the Iranian films at a Western normal film, are: Those for Iranian films and filmmakers have become typical Kommunikation von “Verhaftungsdrohungen”, “Hausarrest” and “Verbannung ” , the man no longer has much seriousness, and yet it is often the case that a whirlwind is viewed and softened through the broader standard characteristics of a film when there is cinematic art or political radical iterations of movies.


No film analysis can take place. Entscheidend since die Bilder.


If a man sees the naheliegende Vergleich zu dem in Deutschland gefeierten en fälschlicherweise as German Oscar Beitrag nominated “Die Saat des Heiligen Feigenbaumes” by Mohammad Rasoulof, then lies the Unterschiede auf der Hand and the puppies themselves were heavy as all Gemeinsamkeiten.


Im unterschied zu Rasoulofs speculativem Kino ist Ali Ahmadzadehs Werk visuell, not burdensome, amoralisch, not spißig and weitfernt of all civil Erbauungsszenarien and ihren Wohlanständigkeiten. That’s “Fuck you!!!” gilded with the Karneval of “political Kinos”.


This political parable said in his report on the Borders of the Kinos al jener in Westen gefeierten gefälligeren Iran film. Seine Wut goes under the Haut.




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