1068:), or a day very soon thereafter, should the autumnal equinox fall on a holiday, such as a Friday. With the time of the sunrise advancing in the course of the autumn, the light reflected on the wall at 7 O'clock in the morning must be less bright in the closing scene than in the opening scene. And this is indeed the case.
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far, in the vicinity of "the end of the world". While introducing the first feature film made in Iran in the course of one of his lectures, he mentions that on the day that this film was screened in Tehran for the first time, "68 years ago", he was born. One of the advises that he gives to his pupils
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The film, with a strong cast of
Iranian actors, received critical acclaim in Iran: Various critics have described the movie's dialogues as pithy and thought-provoking, and the language used as both natural and powerful. The quality of the acting and directing have both been praised as well. Taghvā'i
501:
This world in which we live is not fit for working. Before I and you everything in it has already been invented. The world of your story is a kind of a world that you have to create yourself; if you want it to revolve on its axis, it must revolve by your will; when you want the sun to shine, it must
255:
in 2003. Hadyeh
Tehrani's acting in this film has been praised by many critics as equally superb and laudable. For her role, she was nominated for the Crystal Phoenix Award, in the category of women, at the 20th Fajr International Film Festival in 2001. The title of the film is derived from a remark
297:
7 o'clock in the morning of some weeks later; this passage of time is accurately depicted by the brightness of the natural light that is reflected on the wall of a corridor, that leads to this sitting room, in the initial and final scenes. The meticulous attention that Taghvā'i has given to the
40:
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In the one but the penultimate scene of the film, Nāser Taghvā'i introduces a visual metaphor, indicative of the intimacy between a husband and wife. This metaphor, which consists of a knife falling from the table to the ground and subsequently being simultaneously retrieved by
319:
have spent an intellectually and emotionally exhausting night. The motionless pendulum suggests that the events in the intervening period have taken place out of time, or only in imagination. Although the work presented by Taghvā'i certainly qualifies as a
517:, with the former grasping the handle of the knife firmly in his fist, and the latter fixing her fingers on the sides of the blade. Of note is the fact that in the motion pictures made in Iran men and women are not permitted to have physical contact.
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other scenes where the clock on the wall of the sitting room is in sight, its pendulum is conspicuously motionless. The opening scene depicts some moments before the family starts a very active day (the day at which the two children of the family,
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once has noted, accuracy of presentation is one of the hallmarks of Nāser Taghvā'i's films. The dialogues of the film are replete with terse remarks and critical commentaries on the contemporary political and social conditions prevailing in
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attempts to pay attention to the most minute details of the film (for instance, the accuracy with which the separate consecutive shuts match, or the precision of the angles at which the communicating actors look away from the camera). As
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never fails to ease the tension by using his dark humour when the going gets tough. It has been speculated that what one is witnessing is the film, or at least a rehearsal of it, is actually based on the script written by
554:
is presented in the movie as a protagonist; a kind and liberal husband (however sometimes he demonstrates the repressed emotions of a traditional man). He gladly entertains the guests and does not even contemplate to ask
628:, teaching a crash course of writing for aspiring writers of film scripts. He is very philosophical and rather enigmatic, although is very well loved by his pupils. When on a rainy night, after the end of a class,
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shine, and when you do not want it to shine, it must disappear behind the clouds; when you want that it rains, the rain must descend from the sky; if you don't wish that it rains, wish it, and the rain will stop.
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suggests that she should become a professional writer, while at the same time warns that her strong reliance on her imagination, and her day-dreaming, may prove detrimental to the upbringing of their children
1015:, the young daughter of the family, also dislikes to wear headscarf; she has beautiful long hairs and is clearly proud of this beauty), there are several verbal and visual references in this film to the "
443:, married already for twelve years, thus leads to an intense and emotional flow of exchanges revolving around the subject matter of how well even closest individuals know each other and the reason why
757:. Later, she says that when she contemplates, she comes to the realisation that in the year since her husband has died, she has not become lonelier than the thirty years that she had lived with him.
328:. Taghvā'i conveys a number of unobtrusive verbal and visual messages to his viewers. Briefly, Taghvā'i and Ms Minoo Farsh'chi, the co-author of the film script, variously refer to the theory of
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is to forget all the books that they have read and all the films that they have watched, and begin writing their first film scripts by delving into their own personal lives and experiences.
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accurate representation of even the most mundane aspects of the film would at first sight seem to be at odds with the fact that with the exception of the opening and closing scenes, in
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attends. His reflective manners and insightful statements convincingly portray him as a wise academic who has lived a profound life. In a pivotal scene, while being driven by
1019:" that took place during 1998 in Iran, with writers, intellectuals and the dissident politicians as the main targets. Of note is the fact that the family home is located in
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is curious because she is preparing her first film script for her class and that she must be using her husband's character in her story. On the other hand, while
251:
in 2001, received the second Best Actor Of The Year Award From
Writers and Critics, in the category of men, in 2002, and was awarded the Golden Tablet from
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Since the date of the opening scene coincides with the first day of schools following the summer school-holiday, this date must coincide with the
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is normally a housewife, but has recently started to attend a course on writing film scripts, an undertaking that has been actively encouraged by
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takes place, greatly enhances the power of the words exchanged between the two characters. On the one hand, one is given the impression that
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appears to be disconcerted, one cannot escape the suspicion that he may in fact be a willing participant in the creation of the script that
311:, have their first school-day after the summer school-holiday) and the closing scene, the end of a protracted Friday night, during which
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224:(his first after twelve years), based on an original script by Nāser Taghvā'i and Minoo Farsh'chi. The film was produced in 2001 by
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throughout the film, one will not fail to recognise parts of these conversations in the draft texts of the final script written by
248:
614:). As the time passes by and the plot advances further, viewers are led to wonder whether the film one views is the creation of
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complains about the state of the kitchen following her absence from home for several days, rather than offering a helping hand,
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her reason for coming home after midnight, in complete disregard of the guests that she herself had invited. These aspects are
813:, in her absence shows signs of being annoyed by her inquisitiveness and interference in his private family life. Although
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In an earlier part of the film, Taghvā'i lets the viewer know about this fact through a scene (of a house party) in which
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in regard to the script to be written by her. Furthermore, attending carefully to the conversations taking place between
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and talk about the wall of the compound being four metres high and this height not having been considered as sufficient.
715:. She is outright and in many respects looks like someone with her feet squarely on the ground. Yet, when her friend,
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reveals that he himself is deeply unhappy about his project, as his colleagues have nicknamed the prison compound as
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Aside from remarks concerning the colours of the school uniforms for girls, which are mandated to be dark and which
247:). For his role, Khosrow Shakibai was nominated for the Crystal Phoenix Award, in the category of men, at the 20th
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whether she feels a sense of peace for having visited her husband's graveside. After some thought and hesitation,
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s curiosity regarding his past. The deliberately ambiguous circumstance in which the intense discussion between
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in Iran of Sunday in nominally
Christian countries, the night on Friday should be compared with that on Sunday.
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proposes that she should take rest and leave the cleaning of the kitchen for the next day when she feels fresh.
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are that of two baby goats in a popular
Iranian story for children (this story is very reminiscent of
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art-form, this motionless pendulum serves as a more profound tool than a means that solely hints at
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herself, with all the members of the family the willing participants as the actors of the film.
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are the names of two baby goats in the same story; there is no hint in the film however that
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The philosophical messages of the film are mostly conveyed by the professor of literature (
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7 o'clock in the morning, and ends with a scene of the same empty room at some two minutes
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The film starts with a scene of a sitting room, empty of people, at some two minutes
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s penchant for story telling through a scene in which she tells a bedtime story for
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justification for one's suspicions when in the later parts of the film one hears
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Exclusive interview with
Tahmineh Milani, in Persian, Bebin.tv, August 6, 2007:
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offers to drive him to his home, he says, without being sardonic, that he lives
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Soudābeh
Khosravi in collaboration with Nāzanin Emāmi and Mohammad-Ali Zarrābi
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on her way back to her home after visiting the graveside of her late husband,
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might be the pet names of the children, as opposed to their real names.
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is working on a project that he apparently has initially introduced to
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to his home, in the vicinity of "the end of the world", he says:
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compound on the island. Following an intense argument between
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are pet names, used by the family and friends, or real names.
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The course is taught at a school for film making in
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answers first that she does not know, and then says
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966:(The Film Monthly), in Persian, No. 288, year 20,
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674:). The film does not make explicit whether
563:counterbalanced by his ripostes to some of
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140:Assistants: Majid Farzāneh and Ābtin Sahāmi
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1196:It should be realised that knife is a
362:. Taghvā'i introduces his viewers to
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220:) is a 2002 Iranian film directed by
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1134:(in Persian). Ghatreh Publications.
1132:The life and works of Nasser Taghvai
974:(July–August, 2002), Tehran, Iran.
797:and close friend and confidante of
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377:The Wolf and the Seven Young Kids
1331:Films directed by Nasser Taghvai
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161:February 2002
109:Jamshid Mashayekhi
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1272:Kāghaz-e bi Khatt
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177:Running time
154:Release date
138:Farhād Sabā.
112:Arin Matlabi
81:
47:
913:Fāzel Zhyān
877:Taxi Driver
837:pronounces
833:), the way
793:), wife of
733:. Visiting
407:as being a
348:draughtsman
262:ruled paper
181:110 minutes
76:Produced by
58:Directed by
1316:2001 films
1311:2002 films
1305:Categories
1154:One finds
1079:equivalent
841:in saying
791:Susan Joon
585:, wife of
326:surrealism
322:surrealist
226:Yektā Film
214:کاغذ بیخط
82:Yektā Film
68:Written by
48:hedieh1351
980:1019-6382
843:Susan Jān
827:Susan Jān
811:Susan Jān
787:Susan Jān
773:Susan Jān
648:, son of
352:architect
338:free will
45:(Source:
27:2001 film
1231:See also
1168:Jahāngir
1160:Jahāngir
1113:Jahāngir
1105:Jahāngir
866:Jahāngir
858:Jahāngir
854:Mohandes
835:Jahāngir
807:Jahāngir
769:Jahāngir
691:Jahāngir
650:Jahāngir
599:Jahāngir
587:Jahāngir
573:Jahāngir
552:Jahāngir
536:Jahāngir
511:Jahāngir
473:Jahāngir
465:Jahāngir
457:Jahāngir
445:Jahāngir
437:Jahāngir
429:Jahāngir
421:Jahāngir
401:Jahāngir
360:Jahāngir
344:Jahāngir
313:Jahāngir
237:Jahāngir
194:Language
145:Music by
97:Starring
1224:, p. 91
1212:, p. 90
1200:symbol.
1198:phallic
1064:in the
1047:, p. 88
1025:Darband
888:Make-up
823:Persian
699:Shangul
676:Shangul
662:Shangul
646:Shangul
591:Shangul
544:Shangul
521:Details
390:Shangul
382:Shangul
368:Shangul
305:Shangul
210:Persian
197:Persian
186:Country
165:2002-02
163: (
1138:
1033:prison
1029:Tehran
1013:Mangul
1009:Mangul
996:Part 2
992:Part 1
978:
968:Mordād
847:Susan'
687:Mangul
680:Mangul
666:Mangul
658:Mangul
612:vision
595:Mangul
548:Mangul
417:prison
309:Mangul
239:) and
86:Tehran
970:1381
831:Susan
745:asks
739:Ahmad
608:dream
565:Royā'
449:Royā'
409:villa
394:Magul
386:Magul
372:Magul
364:Royā'
346:is a
1296:IMDb
1176:Royā
1172:Royā
1170:and
1164:Royā
1136:ISBN
1107:and
1062:Mehr
1021:Evin
976:ISSN
881:Royā
870:Royā
868:and
860:and
819:Joon
803:Royā
799:Royā
777:Royā
743:Aziz
735:Aziz
731:Aziz
713:Royā
709:Aziz
695:Royā
693:and
678:and
664:and
654:Royā
652:and
639:Royā
634:very
630:Royā
616:Royā
610:and
604:Royā
593:and
583:Royā
569:Royā
557:Royā
546:and
540:Royā
526:Cast
515:Royā
513:and
493:Royā
489:Royā
478:Royā
469:Royā
461:Royā
455:and
453:Royā
441:Royā
439:and
425:Royā
423:and
413:Royā
405:Royā
392:and
384:and
370:and
356:Royā
317:Royā
315:and
307:and
295:past
285:Plot
279:Iran
258:Royā
245:Royā
189:Iran
1294:at
1109:Ali
862:Ali
839:Jān
815:Jān
795:Ali
765:Ali
300:all
256:by
1307::
1120:^
1035:".
972:AH
952:^
805:.
785::
763::
755:no
741:,
725::
707::
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