“Deer” and women’s view away from capitalism

According to the Fars news agency’s film reporter, the movie “Aho” directed by veteran cinema critic Hoshang Golmkani and produced by Javad Norouzbeighi starring Ali Musfa, Hamed Kamili, Sepideh Arman, Reza Yazdani, Reza Kianian and Soheila Razavi is on the cinema screen these days. The film is the story of the self-inflicted isolation of a girl who sees her dreams in vain, but has not lost her hope yet.

Sepideh Arman, the actress and writer of Aho, said in an interview with Fars reporter about the story of this film and the role of a woman in “Aho”: “The central woman in the story of Aho is an independent and educated woman. A woman who lives alone in a village near the forest and earns a living by making wooden works of art. There was a love in the woman’s past that is no longer present and the woman lives in her memories.

He continued: “The deer of our story has strong moral principles in his life, which he does not violate under any circumstances. His loyalty to his lost love has permeated every moment of his life. The concept of love in the movie Aho is pure love. The lovers of our story do not look at the beloved in a physical way, and love in its transcendental meaning is present in the story.

The author of the movie “Aho” explained about the main character of this movie: “Aho in the movie is a symbol of a woman who is powerful at the same time as femininity and does not want to show her power by resorting to male forms. The main character of the movie “Aho” is a woman who likes her gender and does not seek to create male forms to show her strength, she is strong while being feminine and this strength comes from her feminine nature.

He added: “Another characteristic of the woman in the movie Aho is that in this work we do not see the capitalist view of women. The woman in our film is not a person who creates her identity through consumerism. The woman in our story is a thoughtful thinker who has an oriental spirit. A woman who goes from earthly love to heavenly love, the same evolutionary process that is mentioned in Rumi’s poems.

Arman went on to say: “Purity is the common feature of all the characters in the movie Ahost, all of them are lovers who are loyal to their pure love until the end of their lives. People who do not seek abuse in love. At all, the main reason for the interest of the men in the story for our girl is the purity of this girl’s soul, which is perhaps different from all the girls that the men in the story have seen before. Men fall in love with this innocence and purity and do their best to get it. In our literature, the deer is a symbol of femininity, innocence, and purity, a symbol of an unattainable lover, and the main character of our film is a symbol of the same purity, innocence, and remoteness.”

Regarding the lack of violence in the film, the actor of “Aho” said: “I think people are tired of watching all this violence, bitterness and blackness. When someone spends money and buys a movie ticket, he expects to have good and memorable moments for himself and his family. What pleasure can it have for the audience to repeatedly see exaggerated problems on the cinema screen?

Deliberately knowing the poetic narrative of the film, Arman says that “in the film Aho, nature and life have taken on a dreamlike aspect and the audience will experience peace and beauty by watching this film. This must have been intentional because since I was following movies, I was attached to movies in such an atmosphere, such as the movie “Fishes fall in love” by Dr. Ali Rafiei, “What time is it in your world” by Safi Yazdanian. Poetic and very beautiful films in which there was no mention of violence and blackness and cloudy images, everything was color, light, brightness and poetry.

This writer and actor said in relation to continuing his work and dealing with this issue: “I am a graduate of social sciences from Tehran University, and the issues related to women and children have always been a concern for me, and I must address this in my other works as well.” I will continue to worry. For example, we are currently facing a wide group of girls and women in their sixties and seventies who have never married or separated and live alone. What are the needs of this population and what facilities should be available to them in the future.

In the end, he said: Unfortunately, women’s issues in our cinema have not been addressed as much as they should and maybe because of the masculine approach of male screenwriters. and witness the works in which women are narrated from the perspective of women.

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