The Deserted Station (2002)
Average Rating: 7.8/10
Reviews Counted: 21
Fresh: 21 | Rotten: 0
No consensus yet.
Average Rating: 7.4/10
Critic Reviews: 8
Fresh: 8 | Rotten: 0
No consensus yet.
Average Rating: 3.2/5
User Ratings: 165
A man and his wife encounter some unanticipated delays en route to a religious shrine in Iranian director Alireza Raisian's 2002 drama The Deserted Station. As he drives his car to the holy city of Mashad, a young photographer applies his trade and snaps photos of various sites and locations. Further down the road, the car breaks down -- forcing the man to walk in search of someone to make the necessary repairs. His wife (Leila Hatami), who has been sleeping most of the trip, awakens and goes
Feb 25, 2003 Wide
Dec 13, 2005
First Run Features - Official Site
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It's not often you encounter a film that's simultaneously as tedious and moving as The Deserted Station.
Like all of Iranian cinema, Deserted Station is marked by unaffected, neo-realist performances, particularly by Nezam Manouchehri as the testy and uncertain husband, and Leila Hatami as his quietly sad wife.
The sweet script, crisp direction and a delightful performance by Leila Hatami, as the sad-eyed wife, should put Deserted Station on your must-see list.
Hardcore Kiarostami devotees may miss the master's harsher clarity, but Hatami, best known for her starring role in Dariush Mehrjui's Leila, makes her character's inner transformation both subtle and palpable.
A sweet, little unpretentious slice-of-life flick from Iran which, while highlighting the arid region's visually-arresting, utter desolation, ever so subtly hints at the tension between a simmering feminism and traditional Muslim values.
Excessively enigmatic, Deserted Station nevertheless provides an allegory for modern-day Iran.
Kiarostami and Raisian conjure up the oppressive miasma clinging to women and kids in patriarchal Iran . . . offers startling images . . . [a] stubbornly ambiguous film.
It is filled with feeling and far from sentimental or cloying, with a beautiful score enhancing the melancholia.
This deeply humanistic drama is strongly reminiscent of the earlier, less self-referential films of Abbas Kiarostami.
Heavy on symbolic visuals and told in slowly and quietly unfolding nonevent action, it's a moving and gentle study of lingering grief and sexual politics.
A spare plot that's 'relaxed' if 'relaxed' means that it moves as quickly as molasses climbing up a tree in January.
It's a simple enough setup, but Raisian packs so much into it that multiple viewings may be necessary.
Melancholy, tender, and charged with rich symbolic power, it's a muted yet strangely fragile film that's as much about Middle Eastern womanhood as the horrors of parental bereavement.
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