"Safar e Ghandehar" is a film between a feature film and a documentary. It faithfully reflects the sufferings and national disasters of Afghanistan, such as hunger, poverty, and death. The scenes in the film are beautifully shot, but inside are bursts of suffocating breaths of women. Under the various pains and despair presented in the film, it is Makmarbaff's heavy thinking about the fate of the nation and the ultimate concern for life individuals. Although there is confusion and weakness from time to time, it comes from a deep love, a compassionate humanitarian spirit
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"Safar e Ghandehar" continues the myth of the distinctive national characteristics of Iranian films, with profound humanistic connotations and creative image expression: on the one hand, it continues the authentic artistic style brought by the documentary techniques of Iranian films; on the other hand, On the other hand, they have also worked hard to create new structural methods in this kind of natural display, so that the audience can see the momentum of Iranian films moving out of lockdown and developing outward. The film shows the daily life of Islamic society with distinctive religious colors, and seeks artistic beauty in these seemingly trivial life processes, and every bit reveals a strong national customs and cultural connotation. The story in the film is not just a simple record of real life, but rises to an aesthetic experience with a strong sense of reality brought about by the structure and narrative methods. The whole film gives people a calm, gentle and peaceful audiovisual feeling, presenting a completely different The unique form of Hollywood movies is a typical film performance built on the self-sufficient foundation of national culture. At the same time, the film is oriented to the world, and the choice of subject matter is fresh and mysterious. On the other hand, the focus of the work is scattered. The ordinary and seemingly inadvertent daily experience of each character implies a different state of existence, which enables the complete description of the entire Iranian society to be completed. In the original image process created by this synchronic "face", we see the instinctive behavior of people under extremely bad material conditions and the unique taste brought by heterogeneous culture. The juxtaposition of multiple reality fragments completes the director's presentation of multiple meanings such as education, war, ethnicity, and religion, and the expression of complex themes. Narfas’s constant narration not only ensures the compactness and coherence of the narrative, but also mobilizes the audience’s psychology to understand the meaning of the film itself. It not only enhances the documentary characteristics of the film, but is also an indispensable structural means. The documentary long shots are designed to restore the integrity of time and space and create an emotional rhythm; at the same time, a large number of expressive long shots are also called by the director, who also has a complicated ingenuity in the structure of audiovisual language. The connection of the slightly disorganized shots does not make the audience feel jerky and chaotic, and has a very smooth and coherent sense of language. Nafas’ narration exacerbated the urgency of reaching Safar e Ghandehar to rescue his sister before the lunar eclipse, integrating documentary footage to promote the development of the plot. The film made people see Iranian films taking the initiative to get out of their locks
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