Film Review Of ‘Leila’s Brothers’

The Iranian writer-director Saeed Roustaee The third feature follows a family who has trouble staying afloat in a society spoiled by corruption and economic conflicts.

One of the best criminal films, and perhaps one of the best periods of films, to be released in recent years was the drama of the epic police of the Iranian writer Saeed Roustaee, at only 6.5. Located in a modern teheran teeming with corruption, crackheads and cops who fight to prevent the city from turning out of control, it was the kind of sprawling thriller, full of action and morally complex that they simply do More in Hollywood – or if they do, it’s on television and it’s called The Wire.

Just 6.5 has never been released in the United States, which is as criminal as the environment it represents so delicately represented. Roustaee’s third feature film, just as epic, but more intimate, the brothers of the working class Leila class, hope, hope that one of the most promising new talents in cinema more projectors after his first in competition at Cannes.

Like a huge novel from the 19th century by Zola or Dickens condensed in a three -hour story, the film follows five brothers and sisters who find it difficult to remain afloat in a dog of dog Iran suffocated by fraud, the class struggle, The rivalries of clan and an economy which redeems forever to forever warning it forever teeetting on the verge of disaster. Filled with powerful turns by an overall cast, many of which have also played in just 6.5, Leila’s brothers reveal that Roustaee, 32, is a masterful filmmaker, but aggressively heavy, whose voice is clearly counting.

The films of his Iranian compatriot Asghar Farhadi come to my mind here – the two directors work frequently with Payman Maadi, one of the best players in their country – although Farhadi tends to be more sought after and suggestive, Roustaee puts everything This extremely stages hundreds of extras who have the monumental scope of an image of Cecil B. Demille. His films are overwhelming and impactful dramas of the wink in which he has no problem throwing as much as possible in the kitchen sink, and the wonder is how he manages to do so well.

Leila’s brothers focus on the titular sister, played by Taraneh Alidoosti (who broke out in Farhadi about Elly), and her quartet of brothers, each with her own shape, size and distinct type of personality. There is moral anchor, Alireza (Navid Mohammadzadeh), which is triggered from his work in blue collar at the start of the film, in a breathtaking sequence where the dozens of workers flee while the riot police take D ‘Assault their factory, which we learn, was closed after the farm The boss diverted all income.

The other three brothers run the whole range of the accomplice but vulnerable (maadi) Manouchehr to the Farhad bodybuilder (Mohammad Ali Mohammadi) to the concierge and overweight family, Parviz (Farhad Aslani). And then there is the father, Esmail (SAEED defending), who wants nothing more than respect for his children and the extended clan, especially after the death of an older patriarch, leaving Esmail as a candidate potential to take its place.

This, and the fact that the only person earning real life in the household is Leila, is what propels a plot where the needs of the individual and the family unity collide constantly. Everyone wants to go ahead, but it inevitably means going to someone else, be it your brother, sister, father or neighbor, in a twisted world where it is impossible to do it big – or simply to do everything – without using a form of deception.

Roustaee, who wrote the script, takes a lot of trouble showing how corruption has infiltrated in all levels of Iranian life, intriguing factory owners at the top guys below like Parviz, who works as an attendant The bathroom during shopping shopping center and counterpoint to its customers a double to use the toilets. Among the many scams of the Leila brothers, the most daring implies a company in which Farhad wants everyone to invest, where cars are pre-sold

It is a way in which Roustaee is distinguished from the peloton. The other is in the epic scan he gives to the story, which, with his accent on a patriarch and his besieged heirs, can resemble a version of the working class of The Godfather. Collaborating again with DP Hooman Behmane, the director uses the kind of slow zooms who were a trademark of the 1970s, taking us universal events from Iranian society with a family trips in a single stroke. He knows how to go big when he needs, as in the factory sequence, or in an extended wedding scene that recalls Coppola as well as Cimino. But he also knows how to contain the action to a few individuals, which makes Leila’s brothers above all a performance piece.

The casting brings enormous energy and many nuances to their roles; Each character is in charge of contradictions, fighting for the family or their own interests, or sometimes both, well aware that they rarely do the right thing. Only Alireza seems to have scruples on the bending of the law, which means that he ends up taking more punishment than the others. Mohammadzadeh, already out of competition in just 6.5, is exceptional here, the most memorable in a long and exhausting scene where he must ensure that a rival member of the family is scammed during the too expensive marriage of his own son.

This sequence revolves around the ascent of Esmail to the throne of the chief of the clan, which makes him pupped his five children to pay it with their future – in this case, by renouncing money that could be invested in a promising business. Although even this agreement, which consists in converting the Parviz bathroom, present at the shopping center into a new clothing store, seems to be spoiled by legal problems with the act of property.

The only brother rarely fooled by anything or anyone is Leila. She is both the resident pragmatist (single, she still lives with her parents) and the only child with a viable career. That she is generally ignored by others because she is a woman, assistant to her father and the brothers make a bad decision after the other, is one of the many dishes to remember in a film filled with ideas and social criticism.

You could say that everything is too much to manage, and there are certain moments when the drama staggers in a complete melodrama – when it feels exaggerated and even technically a little sloppy, as if the camera could not capture everything carefully. In this sense, Leila’s brothers are not a perfect film, whatever it means anyway. But it is a great film both in the scope and in what he tries to say about Iran through the history of the innumerable difficulties of a family. As a filmmaker, Roustaee targets so high and wide that even if he sometimes lacks his brand, he manages to find his own moving voice.

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