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100Acted as a drama, paced like a ritual, filmed as a slice of rural Iranian life.
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75There’s little dialogue in this gem of a movie, but little is needed. Aman’s anguished face – which recalls Maria Falconetti in “The Passion of Joan of Arc” -- conveys all the information we need.
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70Never quite finds the rhythm of a great film, and it scores no points for subtlety by including a subplot about a horse breaking free of its master, but Shahriar displays a real gift for conveying Taghani's plight in all its grimness.
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70At times Shahriar succumbs to self-conscious poeticism, and her male characters are invariably thieves and oppressors, but the film draws a good deal of power from the passive anguish of the girl.
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60The filmmaker achieves the desired sense of remoteness and claustrophobic doom, and though the story could be told more economically, her slow approach conveys the distended chronology that attends an indentured servitude resembling slavery.
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50With her shaved head and staring eyes, Aman actually looks as if she had been stripped entirely of her sexuality, like a Holocaust victim. What does seem certain is that a bootleg print of "Yentl" is still making its way through Iran's filmmaking underground, leaving a wide trail of influence behind it.
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50A plea for attention to despicable conditions of female servitude in contempo Iran.
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ThomasH.6Glacial pacing, exotic, sad and poor. Window into a strange and foreign land.