A look at Kaveh Sabbaghzadeh’s new experience in the movie “Emad and Tuba Romanticism” / Fantasy Mask on Everyday Face

Theater News Base: “Emad and Tuba Romanticism” is the second work by Kaveh Sabbaghzadeh, which was made after the successful film “Italy-Italy”. In his new film, Sabbaghzadeh returns to a pre-written text, and the script of his second work is as adapted as his first film.

“Emad and Tuba Romanticism” based on the book “Garlic of love” The work of Allen Dubaten is written. However, Sabbaghzadeh’s interpretation of this work is completely free and based on the internal needs of his script.

In this film, he focuses on the concepts that formed the foundations of the film “Italy-Italy”. Loving couples who, with their daydreaming and fantasies, seek an extraordinary world beyond the usual routine of life. They set foot on the path to realizing such a dream but wish for a kind of boredom.

Boredom in married life is also one of the repetitive motifs of Sabbaghzadeh’s works, which is itself a reason for advancing drama and changing the atmosphere of the narrative.

The characters in Sabbaghzadeh’s films ignore this boredom and repetition in the pursuit of their dreams, and do not notice the collapse of life as their fantasies and fantasies disappear. This event also changes the audience’s encounter with the film process.

The audience, like the characters, is immersed in the visual beauties and fantasies of the narrative. At the heart of these funny and humorous movements, which do not want to reveal themselves in an exaggerated way, the audience is not aware of the depth of the tragedies that are taking place.

This event causes his narrative to be shocked in the end. In fact, the suspension that is imperceptibly affected by the flow is deliberately covered with paint and glaze, and it appears at a point in the work that this paint and glaze has lost its effect and the atmosphere of the film has been adapted to our real life conditions. .

Another point of interest in Sabbaghzadeh’s films is that the story is more about the right and mutual understanding of men and women than about the truth and finding the culprit.

He develops the situation in such a way that no culprit can be found for the formation of conflicts and events. Everyone tries to rely on their own thoughts and path to create better conditions, and this issue always causes disagreements.

These differences and attempts to understand each other are a clever component that Sabbaghzadeh uses to advance the plot of his films.

By choosing a happy tone for his films, Sabbaghzadeh seeks to find new spaces for narration in cinema. Although there are some weaknesses in his work process, it is admirable for the space he has opened for narration in cinema.

Perhaps because of the preference of fantasy over realism in Sabbaghzadeh’s films, the audience’s association with the film may seem difficult, but when we read it with the rules of the film itself, we better understand the hidden charms in the lower layers of the film.