Cinema Cinema director Mohsen Amir Yousefi wrote in the newspaper Etemad: Raha’s film is a social film with a look at the lower class of society; A look that brings the seekers of justice to the tragic and tearful failure or godliness salvation.
The term “social cinema”, which has been seriously entered into cinema literature since the early revolution, was more than a product of the filmmakers’ intellectuals, a hidden roadmap from management and cinema that had clarified the task of filmmakers before the revolution and the release of foreign film in a revolutionary way.
In addition, they had no interest in the realism of the filmmakers, and by borrowing from the optimal realism-musicist countries of the Eastern Bloc countries, the term social cinema entered Iranian cinema with the slogan of committed and imperialist cinema, which is now about half a century.
But the film “Raha”, as the first by Hussam Farahmand, was able to get a good deal of the common stereotypes of this social cinema and, like many other old and young Iranian cinema directors, reach its personal signature and not stay in the context.
The abandoned film shows a family and people that are practically abandoned, and the highlights only come to them when they have to break at home and hold them accountable. The film, with a careful, unassuming, and unholy realism, neither gives a conventional social cinema nor in the context of social cinema and the judgment of post -year 6. Of course, this exit from the formal and official frameworks made the Fajr Film Festival as a standardization factory in Iranian cinema, and not to be careful and calculated directing, good screenplays, filming, music, and to the cast of the film, especially Shahab Hosseini. Fortunately, people welcomed the release of the film, which is happy, and without the intention of giving the story to the tragic sequence of the corpse, said that hours will prevent the air conditioning of that luxurious air and is a memorable image.
In my opinion, this sequence could be an unconscious allegory of the many different films, destructive and even underground films of Iranian cinema that have been destroyed in the cinema in the past decades, but will eventually enter Iranian cinema and get their right.