Atafeh and Shireen’s relationship and Atafeh’s family dynamic are shaken when Atefeh’s wayward brother, recovering junkie Mehran (Reza Sixo Safai), is released from prison and returns home.As with many lost souls, Mehran turns to religion for structure and guidance.Here, his hedge comes in casting Hallyday as his proxy, knowing the faded French icon can still lure a crowd, even if his performance range is effectively limited to making his blue eyes sparkle and/or moisten on cue.Lelouch doesn’t judge as Kaminsky leaves Paris (and his wife, in the process) for a new life in the mountains (with new love Nathalie, played by Sandrine Bonnaire), though his four daughters are less forgiving, ignoring his calls and refusing his invitations to come visit.The story centers around the relationship between schoolgirls Atafeh (Nikohl Boosheri) and Shireen (Sarah Kazemy), both of whom were raised by well-to-do intellectuals.Their environments have somewhat sheltered them from the fundamentalist element the country, though it is evident that women are second class citizens and their upper class status doesn’t make them immune from the Big Brother element in modern day Iran.Suitable only for little old ladies and Hallyday lovers, this baffling blend of genres begins as a romance (the first buds of spring), shifts into family melodrama (hot summer nights) and ends quite unexpectedly with a murder mystery (one that resolves itself in the dead of winter).
Ses sentiments vont vite tourner à l’obsession et mettre à l’épreuve l’amitié des jeunes filles.
Once among the most popular of France’s filmmakers — and possibly still its most flamboyantly romantic — Lelouch clearly lost his touch somewhere along the way, and his 44th feature will do little to put the cheese peddler back on top.
Like Kaminsky, who traded in shooting photos on the front lines of multiple wars for his new alpine bovine series, Lelouch now specializes in exasperatingly safe fare.
Suddenly, the two siblings are entangled in a triangle of suspense, surveillance, and betrayal as the once liberal and safe haven of the family home becomes a place of danger.
Writer-director Maryam Keshavarz won the 2011 Sundance Audience Award for her Beirut-shot, US-produced first feature , which examines female repression in an Islamic culture from the inside out.