‘About Elly’: Taraneh Alidoosti and the national uprising in Iran
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Persian society had evolved into a cosmopolitan, but as it moved toward being more conservative, film was perceived as being dangerous due to its inclination for sensuality, diversion, fabrication, and corruption.
The film in question is ‘About Elly’ (2009), which is full of color, pleasure, and thought. Directed by Asghar Farhadi, it is a film about friendship and frolic, but it also has an emerging framework and a significant force. Although it is set in a country that frequently receives negative coverage, the life we see there is relatable: a group of old friends spend a weekend together in a beach house, talking, singing, dancing, and speculating about romance while also arguing with their spouses and trying to raise their children. The weekend takes a turn when a new acquaintance, Elly, a young woman invited to meet one of male friends, disappears.
The story turns into a mystery in more ways than one: who is Elly, why is she there, and how and why does she disappear? What would her disappearance mean for other people? The movie About Elly by Farhadi shows us how adults who are in charge of kids may still act like kids—dreamy, happy, up for an adventure, and willing to delegate their responsibilities to others. Even the facts can be unpleasant and concealed in favor of the desired interpretation.
Asghar Farhadi’s cinema does not appear to have been produced in the shadow of repression because of his dedication to a range of perspectives and characters, which gives his work a feeling of freedom. The characters in Asghar Farhadi’s films could be restricted by their conscience or their society, yet they seem aware and relevant. By letting the audience make their own judgments rather than imposing his own, Farhadi seeks to humanize a variety of characters, even those who are compromised or transgressive
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