Cinema Mohammad Reza Jalaiipour wrote in the Etemad newspaper:
The “anti -hero” documentary, which is the portrait of Ayatollah Sadegh Khalkhali and was released both at the Fajr Cinema Festival and at the Fajr Festival and in the online space, with official authorization criteria in the Islamic Republic and the Cultural Organization. . The choice of this issue by Aref Afshar has called for the courage. The strengths of the documentary include the discovery and display of less visible archive images, hunting of sentences and very interesting moments in a conversation with some figures (especially Ali Akbar Nateqnouri) and tangible toilers and violations of fair hearing and judgment. And he was heavy by Sadegh Khalkhali.
The documentary has also been successful in establishing a relationship between the performance and heritage of Sadegh Khalkhali in the first decade of the revolution: first, the impact of the revolutionary context in society and the rule of notation, and the second, the impact of childhood and the personality traits of Sadegh Khalkhali. The latter would not have the opportunity to nurture and influence, as his embarrassing death in the years of society and Iran’s sovereignty from the revolution. The documentary shows that the harsh and violent Khalkhali in the post -revolutionary years had been hero for a significant part of Iranian society, as in most revolutions, the removal and elimination of popular and popular and Nasr Balar Abbas dominates, and the same Khalkhali after the departure of society and society. The sovereignty of the revolutionary conditions on the eve of his death was not even visited by close friends. Khalkhali made the revolutionary conditions of the hero and the post -revolutionary anti -hero conditions.
The image of the non -independent judicial system and the causes of Khalkhali’s power have been well processed in the documentary by utilizing the requirements of the revolutionary atmosphere and even despite the strong opposition at the level of revolutionary leaders. The director’s narrative is not devoid of mischief or deficiencies (for example, in the magnification of Ayatollah Montazeri’s support for Khalkhali and not covering Ayatollah Montazeri’s criticisms and not paying some of the important instances of Khalkhali’s unjust sentences), but overall, in terms of equilibrium and fairness in the narrative score.
Finally, the documentary audience altogues the Khalkhali personality and sees Khalkhalism as a tendency to violence and elimination and populist deployment and security approach on social and political issues and “complex issues” that boast and later declined in revolutionary conditions. The forces and faces continue to live weaker, and new forms can be re -strong in other conditions.
I hope that more well -made political portraits of the political figures and leaders of the various currents will be made and published by a more controversial spectrum of directors. Personally, I still do powerful portraits about Akbar Hashemi Rafsanjani, Behzad Nabavi, Ali Akbar Nateqnouri, Mohammad Khatami, Mohammad Javad Zarif, Hassan Rouhani, Mahmoud Ahmadinejad, Masoud Mediian, Mehdi Karroubi, Mir Hossein Mousavi, Mir Hossein Mousavi Farrokhzadar, Mohammad Bagher Ghalibaf, Saeed Hajjarian and… have not been made or published.