Fajr Film Festival Cinema like a flying carpet/”Gloe Room”; A role as a reminder of love and hope

Fars News Agency, Cinema Group; Hadi Mominian: War has a different meaning for our generation, whose children have experienced eight years of sacred defense. To enter into the analysis of one of the films of the 41st Fajr festival, namely “The Mud Room”, I will go back a little when I was 6 years old and the giant Iraqi airplanes were passing through the sky of our village, which was on the border of Ilam and Lorestan.

For those years, I thought that the world was only Iran and Iraq, and if I climb the mountain behind the village, I will definitely see Iraq.

Every day, when the planes were spotted, they flew so close to the village that I thought I could shoot one of them down with the long reed sticks that were our childhood toys at night – to throw bats at.

Today, on the 8th day of the Fajr Film Festival, after seeing “The Mud Room”, all those childhood memories, the martyrs of the village and the giant black Iraqi airplanes, etc. came alive in my mind.

Cinema is like a flying carpet

Cinema is today’s myth because it can separate us from our daily life and world like a flying carpet and take us to another world. Undoubtedly, this legendary role of cinema is very important.

“Goli Room” tells the story of the women, children and men of Hasan Abad village in Kermanshah, who were killed and raped by the hypocrites during the Mursad operation.

Apart from technical analysis such as games, design of narrative structure and storytelling, editing, sound, stage design and filming, etc., all of which were good or brilliant, “The Flower Room” is a movie full of spectacular images and lovely concepts. The story of love, sacrifice, courage, family friendship, patriotism and hope.

At the beginning, “Goli Room” is a familiar and simple story of “Shahu” falling in love with “Khazal” and Khazal’s father’s opposition to this union; Because he blames Agha Morad Shahu for the death of his son Khosrow, who was killed while smuggling through the Turkish border.

Accordingly, at the beginning of the film, I see a part of the daily life of the villagers who are involved in a clan story, a love story that, due to a misunderstanding, has been placed in front of a barrier called father; A father who plays an important role in Kurdish clans. The narrative begins with a challenge between two families, despite the challenge, the village has a calm and safe atmosphere, but suddenly a demon armed to the teeth attacks the village and disturbs the peace of the village, and this is just the beginning of the story.

Shahu, the main role of the film with the brilliant performance of Toraj Elvand (I met Elvand at the 40th festival in the movie “Night Watchman” by Mirkarimi when he appeared as a rising star in Iranian cinema with his believable and brilliant performance) is committed and loyal to his family (an elderly mother); He, who has no middle ground with war and does not shoot a bullet during the entire film, has lost his heart to Khazali, who weaves carpets and is familiar with colors, patterns and beauty. Carpet weaving, which is the “mud room” and eventually becomes the stronghold of the villagers.

The blood of the martyrs and veterans who had brought themselves to the mud room to save the villagers is woven into the patterns and warm colors of the carpets.

It seems that the “flower room” is a metaphor for geography and the country, and the knots of the carpet, its design and color, on the one hand, remind us of the powerful and intertwined narrative line in the film, and on the other hand, it is a clear reference to a nation and the unity of its people.

Even though bloodshed ensues and fighters (Basij forces and IRGC commanders) are martyred one after the other, “resistance” is formed to the extent possible to maintain the safety of the people and keep life alive.

The ending of the film is also brilliant, the newly arrived baby that symbolizes the “future on the way” and the freshness of life, is full of “hope” and revives “love”.

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