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A man and a woman are in a coma in a tragic accident on the northern roads of the country, and their wives (played by Azadeh Zarei and Pejman Bazeghi) are unaware of the relationship between their wives and do not know why the two were in the same car. Not a good movie. The reasons for this not being good are not few. The film is a weak melodrama of stereotypes that has serious holes in the script in presenting its main problem and observing the turning points, crises and unraveling points. I do not analyze the film in terms of preserving and observing moral values, because we have always seen the opposite example of this human problem in Iranian cinema, so much so that the issue of male-to-female infidelity has become commonplace for us in Iranian films. This time, Naimi examines the issue of female infidelity in his film, and in my opinion, this is not only not a problem, but also a good and deconstruction, but what makes “Highlight” a weak film are its weaknesses and shortcomings. Is the script and the progress of the story, which is not only unbelievable, but in some places its artificiality strikes the taste of the viewer. The process of approaching two male and female characters (Azadeh Zarei and Pejman Bazeghi) to each other is not an acceptable basis. The idea of ​​revenge could be an interesting one and be effective in shaping an exciting and challenging drama, but the filmmaker could not properly cultivate this original design. The type of relationship between a man and a woman is so close that it reminds the audience of the famous Persian films of the 1940s. One of the most obscure and perhaps the most ridiculous scenes in the film is the scene of a woman entering a man’s apartment, and clichéd elements in the mezzanine design such as choosing a bold red sofa, bringing a drink and a short distance between the two actors are supposed to convey some things. Be unspeakable to the audience; In a situation where the two characters have not yet even had an effective verbal connection with each other. Arranging this mezzanine in the right conditions could have turned this hilarious sequence into a successful sequence, but improper use of it has hurt the work. One of the most obscure and perhaps the most ridiculous scenes in the film is the scene of a woman entering a man’s apartment, and clichéd elements in the mezzanine design such as choosing a bold red sofa, bringing a drink and a short distance between the two actors are supposed to convey some things. Be unspeakable to the audience; In a situation where the two characters have not yet even had an effective verbal connection with each other. Arranging this mezzanine in the right conditions could have turned this hilarious sequence into a successful sequence, but improper use of it has hurt the work. One of the most obscure and perhaps the most ridiculous scenes in the film is the scene of a woman entering a man’s apartment, and clichéd elements in the mezzanine design such as choosing a bold red sofa, bringing a drink and a short distance between the two actors are supposed to convey some things. Be unspeakable to the audience; In a situation where the two characters have not yet even had an effective verbal connection with each other. Arranging this mezzanine in the right conditions could have turned this hilarious sequence into a successful sequence, but improper use of it has hurt the work.

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