The amazing thing about Abbas is that he has let go of the narrative and the constraints of the possible drama stereotypes. He tells the audience that everything is as it is in the film. He wrote them as husband and wife and made them act as husband and wife. It was fake at first, then real. The audience gets confused in the seamless transition of relationships, and it’s audacious to create that confusion, this interval, and it’s amazing to savor the confusion and come to terms with it.
The audience's feelings are synchronized with the changes in the characters' situations in the film. The process of women unconsciously committing obsessions and being trapped in a relationship is a process in which the audience is also confused. Men repeatedly quarrel and resist due to being dragged into a virtual relationship. It's the audience's skepticism and attempts to rationalize.
As such, the film's on-screen and off-screen spaces surround a solid symbolic issue (a fake is as valuable as the real thing), surprisingly unified, very natural, and very precise. like a wonderful forest. This is the charm of old Abbas, from a rustic wheat field to a strict forest.
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