《About Elly》
關(guān)于伊麗，主角卻是人性，反派是那教義
有個(gè)伊斯蘭國(guó)家，叫伊朗，時(shí)尚不再是黑紗罩身，風(fēng)格可以是仔褲皮包。周末假日攜家出游，是中產(chǎn)階級(jí)有錢有閑的寫照；LV老三彩手提電話機(jī)，是現(xiàn)代文化強(qiáng)勢(shì)滲透的痕跡。西方國(guó)家現(xiàn)代化進(jìn)程早已完成，而在這個(gè)以宗教為立法之本的國(guó)家才初顯端倪，何以見得？不只是女人們被腦袋上摘不下的裹布約束，整個(gè)國(guó)家的人都在意識(shí)里褪不去的教義前卻步。意外來(lái)臨前，她是男人口中的好妻子，女人眼里的似天使；意外發(fā)生后，風(fēng)箏被她帶起，孩子被人救起

Iranian dramaturge Asghar Farhadi’s fourth picture, ABOUT ELLY is temporally condensed within a weekend sortie, and spatially confined around a seaside resort. 3 middle-class couples (each with their young children, numbers vary from two to naught), their visiting common friend Ahmad (Hosseini), an Iranian living in Germany and recently divorced, plus a fresh face, the titular Elly (Alidoosti), a young kindergarten teacher befriended by one of the wives, Sepideh (Farahani

關(guān)于伊麗：我可能會(huì)和塞碧德一樣
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