’s psychological thriller “Beyond the Wall,” which premiered in competition at the Venice Film Festival, was described in theas a “morbidly violent allegory for the effects of state-sponsored trauma on the individual that places contemporary Iranian society somewhere on the map between the sixth and seventh circles of hell.”have raged following the killing of Mahsa Amini, and have been met with savage violence from the state.
When Ali tears off the bag and staggers to the door, the concierge informs him that a woman is on the run from the police, and may have hidden in the apartment block. When the man leaves it becomes evident to the viewer that the fugitive, Leila , has managed to enter the apartment. Ali, however, does not see her as he is almost totally blind. Eventually, he discovers Leila, but decides to help her.
Jalilvand says he has heard almost unanimously from viewers that they were able to identify with Leila, and this is what he intended. He wanted members of the audience “to feel her suffering so they could suffer alongside her,” he says. “And luckily there was no harm done to Diana herself. And on screen we see the result – it’s really like it is another person. It is not Diana we are seeing.”
I believe in change when I see it. I have yet to see it.
There has been a lot of artistic talk about people on the fringes of society in cinema of late. But with little to no substance cinema wise. Here is something.