Length: 09:58
By writer/director Afsaneh Hassanzadeh
Genre: Drama
Date: 2010
Rating: ★★★★☆
Logline: On hearing about his mothers ill health, a surly runaway teen is reminded of the families refugee roots.
This isn't the best film in the world by a long shot but I can really sense that a lot of effort and passion has been put into this project. We have a bittersweet tragedy filled with regret, understanding and quiet resolution as Daniel, played by Mark Ross, returns home to visit his dying mother. Through flashback we learn his reasons for leaving home and the efforts it took Yasmin, played by Hassanzadeh, (as well as directed by) to bring them to this county in the first place.
The plot gives us an interesting perspective on the know-it-all teenager that's had enough of his moaning parents by revealing the families past plight in fleeing their home country just before mid point. This should have forced the audience to reconsider the previous arguments but instead only strengthens our impression that Daniel's just a spoilt brat. This character could have done with stronger motivations for leaving the family home rather than one single gripe about his staying out late. Could certainly have had a bit more drama in this drama to explain family tensions. Technically, the scene where runaway Daniel talks to his mother over the phone by the train track could be cut as it delivers no new information and only serves to have the title line spoken. Ross's acting is a let down. Hassanzadeh stands out as the most competent with Maral Rahmantalab, playing sister Laila, as a close second.
There is a good mixture of shots being used. Occasionally a bit too busy at times, as if making sure we are kept visually engaged while establishing story. Lighting fails in some parts such as Daniels back-lit bedroom scenes where he is almost to dark to make out. That may have been a conscious decision though as lighting has also been used to express different times and locations. Colours are bold and light over saturated to simulate (better weather probably) a foreign country whereas here in the dreary UK, colours are muted and lighting dull. Sound quality isn't always great but makes good use of an evocative soundtrack in establishing time, place and emotion. Editing is well done with nice juxtaposition between past and present scenes.
Amateur sensibility aside, this is a good effort and shows much promise in Hassanzadeh. I recommend focus on strengthening storytelling as it being the weaker element.
This isn't the best film in the world by a long shot but I can really sense that a lot of effort and passion has been put into this project. We have a bittersweet tragedy filled with regret, understanding and quiet resolution as Daniel, played by Mark Ross, returns home to visit his dying mother. Through flashback we learn his reasons for leaving home and the efforts it took Yasmin, played by Hassanzadeh, (as well as directed by) to bring them to this county in the first place.
The plot gives us an interesting perspective on the know-it-all teenager that's had enough of his moaning parents by revealing the families past plight in fleeing their home country just before mid point. This should have forced the audience to reconsider the previous arguments but instead only strengthens our impression that Daniel's just a spoilt brat. This character could have done with stronger motivations for leaving the family home rather than one single gripe about his staying out late. Could certainly have had a bit more drama in this drama to explain family tensions. Technically, the scene where runaway Daniel talks to his mother over the phone by the train track could be cut as it delivers no new information and only serves to have the title line spoken. Ross's acting is a let down. Hassanzadeh stands out as the most competent with Maral Rahmantalab, playing sister Laila, as a close second.
There is a good mixture of shots being used. Occasionally a bit too busy at times, as if making sure we are kept visually engaged while establishing story. Lighting fails in some parts such as Daniels back-lit bedroom scenes where he is almost to dark to make out. That may have been a conscious decision though as lighting has also been used to express different times and locations. Colours are bold and light over saturated to simulate (better weather probably) a foreign country whereas here in the dreary UK, colours are muted and lighting dull. Sound quality isn't always great but makes good use of an evocative soundtrack in establishing time, place and emotion. Editing is well done with nice juxtaposition between past and present scenes.
Amateur sensibility aside, this is a good effort and shows much promise in Hassanzadeh. I recommend focus on strengthening storytelling as it being the weaker element.
Best Bit: The getting rid of the head scarf scene.
Worst Bit: Some bad lighting and sound quality lets it down in parts.
Final thought: Hope this writer/director goes on to make more films.
Read a condensed review of this film on Twitter here.
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