Sometimes it is very important that we know whether a story is true or not. I am watching Ali Abbasi’s thunderbolt Holy spider, On the other hand, it makes a dent in your mind to know that a serial killer really terrorized the holy city of Mashhad in Iran in the early 2000s, that he killed 16 street prostitutes, there were police who helped him escape and that there were people in Iran. – Many people, he continues to reassure his family – who were in favor of the killer. He was doing the work of God.
The last film of Swedish-Iranian director Ali Abbasi was unclassified BorderA tale about the expelled and the alien where unfortunately seen to be a strange Swedish customs official troll. Border In the Cannes Sidebar category in 2018, An Sarten Regard won the Best Picture award. Holy spider The festival is in competition – one step above the nominal UCR’s newcomer and experimental rank – and obviously the more conventional type of film, a crime thriller where a brave, driven young female reporter (Tsar Amir-Ibrahimi) scandal has not been uncovered. . In a nutshell, it sounds like a replay of a dozen thrillers. Holy spider However, it never feels like a safe style choice. Quite the opposite. It glistens with crackles and rage.
Rahimi reached Mashhad from Tehran by bus full of pilgrims. No wonder her life is portrayed as a hindrance to her daily life: the hotel clerk won’t give her her booked room because she came without her husband, strangers who ask her to cover her hair more Asked about, the way the police officers interviewed him, they laughed when asked more directly about the past. The woman clearly has a steel spine. When he decides that the best way to stop the killer is to use his own body as a bait, what he refuses to do doesn’t seem very strange.
We know who the killers are. Saeed (Mehdi Bajestani) is a creative and devoted family man, especially when he indulges his darling little girl. True, he can be irresistible. Her teenage son may feel a handful of religious fury if he is not careful, and although he would hate to admit it, he finds the business of finding and killing those dirty working women stressful. Those who are junky they don’t fight too much, but some are strong.
He kills them at home; Conveniently, his wife and children go to visit their grandparents once a week. If he finds himself engrossed in the struggle, he prays to God. He then dumped the body somewhere local, phoned the crime reporter in the local paper – who recorded all their conversations, but never thought or was asked to hand them over to the police – and went home after clearing another street corner.
At one point, Saeed guesses with a beautiful smile that if he kills 200 women, he will break the back of his mission; They just have to let him get through it. Her smugness with her own qualities is the most immediately rebellious thing about her. In fact, the correction. Saeed is a veteran soldier of war, who survived, painted with propaganda about martyrdom and guilt; He is not necessarily intelligent. The worst thing about him is that he gathers fans. There are some people, including Fatima, including his weakly surrendered wife (Foruzan Jamshidnejad) – who are convinced that he can never be convicted, which is tantamount to jihad against sin.
Rahimi’s investigation takes him into a dark alley – actually shot in Jordan – and on the dark side of life, often shot in the deep shadows that give the film the occasional Film Noir patina, with a rising score by Martin Dirkov being exploited for complete melodramatic effects like murder. .
It’s annoying to see women being strangled, obviously, but these scenes have been returned to the main points, including the bright, flat lighting: while you’re here, it seems like the Abbasids, you probably know the horrible truth too. The larger truth is, of course, the right-wing press, the radical extremists and all their fellow misogynists who have co-opted Saeed and his horrific deeds – including his son, whom we swear to continue his search – are only 20 years older. What are they doing now?