Cinema Construction wrote: Early in March this year, the banned film “Casta” was broadcast after five years of the YouTube platform and hours later on the telegram channels. What happened to many of the banned effects in Iran before. Initially, it seemed that filmmakers appeared to be aired, but immediately its director, Kianoush Ayari, called on the audience to refrain from illegally watching the film. “The noble people of Iran, I, Kianoush Ayari, firmly declare that I am unhappy with the illegal and smuggling of this work on unauthorized platforms,” the powerful director wrote about his film trafficking. The ban was a gift from the cinema officials, and now its illegal publication will be a double blow to my material and spiritual rights. “
Ayari is one of the controversial filmmakers of Iranian cinema whose work is always facing many problems. “The Abadanis”, “Iranian Tablecloth” and “Awakening of Wish” are among his arrested works that never reached public screening, even the “Father’s House” film for nearly 10 years in a treasure trove, with limited release, extinguishing the voices of the seizure. In a cinema that its managers comment on the taste, they are constantly changing, and legal authorities give definitive views on the release and seizure of the film, the seizure of another dramatic work has become commonplace. So it was better that such a bolder would not make such a film. “The Sofa” was seized as the 12th Kianoush Ayari movie for the use of hats for women instead of scarf. The film starred, directed and produced by Kianoush Ayari, actors such as Farhad Aeish, Fargel Farbakhsh, Babak Hamidian, Fariba Kamran, Atosa Anvarian, Abolfazl Pur Arab, Jahangir Almasi and Shahdad Rouhani.
The story is around a sofa. A middle -aged man finds a sofa on the side of the street and takes it home to see his daughter asking for a day, but on the promised day, it turns out that the sofa belonged to his future groom’s family.
In the sofa, women film all indoors and incense use hats. The realism of the work has always been important and one of its concerns, so it has made such a risk. At the beginning of the film’s production, Ayari said during an interview that it would not be a 3.5 % probability that it would not be public, and it is unclear how to make it with such confidence in the film. A sofa is a film that is not a defensive and decent work in the field of screenplay, characterization and visual space. The first 10 minutes of the film are attractive to the audience, but is this charm going to the end? Although the “sofa” is a significant effect, it does not last to keep the viewer’s mind as deeply and detailed in the main content of the film.
Ashil’s heel of the cast is the cast that they do not have the right character. None of the actors other than Farhad Aeish have a significant game in front of the camera. The rhythm of the film is slowly slowing down from the middle of it, and the story falls into the cycle. Dialogues from the characters are not powerful and effective, but it cannot be denied that Ayari has been able to point the middle class well that are humiliated by the upper classes of society. The livelihoods and social problems of this class in the “sofa” have been related to the life of 8, 9 years, if the middle class is now fading. The bitter story of middle -class families in Iranian social works has become the bitterness of poverty today.
“Conside” is now a film of the past decade that is far from today’s social situation. If Ayari had more smartly put his film in front of the camera and did not give the Ministry of Guidance’s ardor excuses, the film would have been released without any problems and could have been successful in the box office, but his insistence on the use of helmet made “Casta” in the market for nearly a decade. Now his hand is short of his hand and he knows his film. Both for nearly a decade of the story of the past film and the traces of time can be felt on the story, and that this work has no future on the home network and the show on the platforms, and it is the director and producer of the film that has suffered the greatest harm.