Trust cinema Hasan Lotfi wrote in Etemad newspaper: “My favorite cake” by Maryam Moghadam and Behtash Sanaiha is not my favorite movie. Not that I didn’t enjoy watching it, I did. (It’s just a pity that, like many others, I had to watch it without paying for the ticket, and for this I am indebted to the producer of the film) It’s not that the film is bad and that the subject is far from the world that suits my taste, which is close and fits. It also eats well. The loneliness of the people in the film, like the loneliness of the character in the film, the possibility of acid rain is the problem of our time (at least I think so) and it is well paid. Perhaps, if the loneliness and old age and human concerns of the two main characters of my beloved cake (with good performances by Lili Farhadpour and Ismail Mehrabi) were not accompanied by political allusions, the film could have been more easily liked by those who do not want the expression of political, social, human, etc. concerns to be superficial. It’s not that expressing these concerns is bad and cinema doesn’t need to express them, which is both good and good.
But when the general process of the film does not need these scenes, and the way it is expressed is more important and is depicted in such a way that it jumps out of the film, the story is different. Not that everyone disliked this interaction between Maryam Moghaddam and Behtash Sana’i, many people who have been bothered by the absence of some of the events around them in the cinema in these years have been ecstatic with My Beloved Cake and are cheering for the movie.
Of course, along with these supporters, there are also opponents who stone the film with words and pen because of the presence of these scenes (scenes related to the Irshad patrol, etc.). Perhaps the presence of these scenes has caused the emotional moments of the film, which are ironically the best moments of the film, to be called vulgar. The banality, if we look at it properly, is more about the emotional needs of people than the conventional carnality in comedies on stage. A need that does not know age and gender and is related to the temperament of a healthy person. A part of the society says that loneliness is increasing day by day. The fact that the sexual jokes of the best-selling comedy films of these three years did not come to the vulgar eyes of the readers of My Beloved Cake, shows that the meaning of vulgarity for them has more to do with the insiders and outsiders of the movie makers.
What matters is who says what.