to report cinema trust Kamiyar Mohsenin wrote in Etemad newspaper
“Disembodied” is an example of the same fake and customized products. One of the same products of the organization that competes with Iranian films that are made with foreign capital and tries to express the daily concerns of a part of the people, although in a rhetorical form, but outside the envelope, is not able to gain a share in the international market. At a time when it seems as if the intersection of cinematographic films and social categories and any serious criticism is going to be criminalized inside the country, it is quite difficult to produce effective films with social concerns that once had the largest share in commercial and cultural supply in international forums. It is disguised and instead, various organizations, relying on government budgets, want to send demagogic products – and not path-breaking – to the cinema screen. The problem begins with this approach: when avoiding consideration in social categories, the first thing that is sacrificed is a true image of society.
In “Bodyless”, a formless mass is depicted as people in the most offensive way possible. This is what happens in the opening and closing of the film. The same mass which at the beginning is not satisfied except with the execution of the accused and remembers a strongly medieval image, in the end, regardless of the reality, under the influence of the virtual space, asks for forgiveness for the murderer, in the form of a group without benefit of reason, will and Authority is incarnated. It is as if this illusion of conspiracy, which in recent years, has turned into a vulgar excuse and excuse to justify everything and has always tried to reduce the role of the people, should be taken into consideration in the design of approved scripts. Even if, in this particular case, these inductions are not carried out by external forces and a real person, with personal motives, conquers the virtual space! On the opposite side, the officials are placed, who regardless of personal judgments, believing in the necessity of doing the work of reward, do their best to satisfy the guardians for forgiveness and save human lives, even if they are sinners. In a situation where from time to time, shocking news about astronomical embezzlements are published, this order arrangement in the plot of the story stands out in an annoying way. If there was a shallow trace of intelligence and at least one of the officials was not drawn with absolute whiteness, maybe this advertising film would not look so crude!
The other people in the story, who are considered to be superficial characters without depth, are considered to be representatives of the people, who, of course, are completely isolated from society. People who are divided into two categories: either they are bad people or they are so immature that they need guardians. Therefore, regardless of whether this film is related to a real case or not, the viewer is faced with a model that considers the society to be demeaning and lacking in wisdom with a special interpretation of “mostly irrational”. In such a situation, focusing on social categories and concerns becomes completely empty and meaningless, because it does not benefit from reasoning, it has no room for thinking and projecting concerns. Therefore, instead of criticizing a system that has sometimes contributed to the repetition of social tragedies through strange mechanisms, it rereads superficial memories, avoids any discussion about social problems, and ultimately becomes an extremely anti-social product. .
In the void of a sociological view, “Bodyless” is not able to approach a specific genre: due to avoiding the creation and payment of characters with different layers and reactions and complex motives, it moves away from psychoanalytic drama; Due to the lack of emphasis on the follow-up process of the case and the role of the inspector in this process, it does not resemble a criminal melodrama, and due to the lack of follow-up of the proceedings, it does not lead to a courtroom drama either.
So the product that came out of the defective production line remains an amalgam that wants to impress a range of viewers with diluted sentimentality. For this reason, he goes to a group of famous actors who are popular among this spectrum and at that point, they do not have a ban to continue their activities. As a result, in the selection of the actor, in many cases, he does not think about the desired result, and of course, in the next step, it creates a big disaster in the field of acting; A disaster that can also be seen in other areas, for example, face painting for the premature aging of the female lead character. Unfortunately, the scripted preparations and their transformation into a film seem to be in perfect harmony with all these weaknesses: a scene where two police actors tell the story of the malfunctioning cameras at a possible crime scene in front of each other; A scene where the mother of the victim and the disturbing woman or the inspector and the father of the murderer, like the worst examples of Persian films, fight with each other; The scene where the bride reveals a big secret to the victim’s mother; The scene where the benevolent officials make two families face each other for peace; The scene where the murderer is taken to the execution platform and the scenes that follow… all remind us of the complete emptiness of cinematic ideas.
This propaganda disaster is in perfect harmony with the slogans it has in mind: between retribution and forgiveness, between swearing to the Almighty and swearing to the Merciful, choosing revenge and the mighty; hiding social inequalities under the cloak of honor; And in practice, moving towards medieval speech, actions and ideas…