A Private War
Crazy Rich Asians
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All Critics (31)
| Top Critics (13)
| Fresh (27)
| Rotten (4)
| DVD (1)
Sometimes fuzzy in structure, the movie is also uncompromisingly realistic, taking us into Tehran offices and factories and onto construction sites.
Bani-Etemad's womanist bent is stark and bracing.
Ms. Bani-Etemad seems to have a firm hand on the social pulse on her nation, particularly the slowly changing roles of women in a place where change is eyed with both desire and suspicion.
The movie might lack the artistic accomplishment of better-known Iranian movies, but it tempers its melodrama with unflinching willingness to take us inside lives that otherwise would remain remote to us.
This splendid film is no mere polemic, for Rakhshan Bani-Etemad, often called the first lady of Iranian cinema, is above all an accomplished storyteller and dramatist who understands the evocative power of sound and image.
Distinguished, like so much contemporary Iranian cinema, by the way its striking visuals and strategic use of sound tell the underlying story.
With understated skill and absolute authenticity, the film builds with enough layers that by its powerful ending, you'll feel as if you have been kicked in the stomach.
Bani-Etemad's gift is her ability to make immediate the human struggle at the heart of a family caught in a time and place so unmoored from tradition that ritual has become cruelty.
Strikes a melodramatic, soap operatic tone...doesn't penetrate deep enough to touch a raw emotional nerve.
Fine performances in a family melodrama that doesn't quite stand out as particularly special.
A lyrical, mesmerizing look at the struggles one average Iranian family faces in their daily lives.
A series of melodramatic moments that will have the audience rolling their eyes in disbelief - if they can keep them open, that is.
There are no featured reviews for Under the Skin of the City (Zir-e Poust-e Shahr) at this time.
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