Rehana Maryam Noor - A Farhadi-esque drama touching upon the dogmatism of society
What's the cost of truth? Does it carry the fruit of justice, or a reminiscent damage to the bearer?
Is it just a statement or a recurring commentary of societal dogmatism echoing out of some words which can alter the topography of patriarchal commandment?
Rehana Maryam Noor, titled after the protagonist herself, is a gasping analysis of a pallbearer of dying justice, ostensibly isomorphic to conchords of dominant male behaviour.
The film focuses on a medical professor, trying to right the wrongs sans the substantial occurence of the events that follow and topples everything related to her, from her psyche to her family problems, ultimately leading to a conundrum.
Although the film shakes the pillars of obstrusive absolution in the most anxiety inducing way possible, the tonality oscillates between Romanian New Wave and a Farhadi-esque stroke of reality. Feathers in the hat to director Abdullah Mohammad Saad for the approach. The remnant fundamentality offers a soulful whimper of a widow, astray from the consequences of a truth getting split into different perspectives, thus facing the bitter tone of the music she was supposed to combat with her courage and valor.
The star of the show, Azmeri Haque Badhon, goes through a colossally intrinsic journey and the acute coldness, percolating in the frames throughout depicts the grotesque consciousness and exhaustion in her eyes, and Badhon puts the last nail in the coffin with absolute brilliance emitting right from the moment she steps on to the cacophony.
The cinematography is the unputdownable mast to a soaring ship, comprising of some masterful framing, add to it, an array of jarred editing that works perfectly to the ambience, acting as an apparatus of controlling the tension of the third eye witness the story unfold, with a note of sheer ambiguity.
To pen down a last few words, the subject does imminent justice to the crisp screenplay while it slowly evolves inside one's mind from within, shattering every inch of morality in pieces, slowly but steadily. Society is a predictable circus of puzzles that needs to be changed inevitably, but the forces of patriarchy and general consensus always takes the "weaker sex" down to hitting the rock bottom, finally reaching to find a way of absolution of mental solace. Rehana Maryam Noor minimalistically checkmates the odds and favours, and establishes itself into a cataclysmic ballad of feminine struggles in daily life.
Is it just a statement or a recurring commentary of societal dogmatism echoing out of some words which can alter the topography of patriarchal commandment?
Rehana Maryam Noor, titled after the protagonist herself, is a gasping analysis of a pallbearer of dying justice, ostensibly isomorphic to conchords of dominant male behaviour.
The film focuses on a medical professor, trying to right the wrongs sans the substantial occurence of the events that follow and topples everything related to her, from her psyche to her family problems, ultimately leading to a conundrum.
Although the film shakes the pillars of obstrusive absolution in the most anxiety inducing way possible, the tonality oscillates between Romanian New Wave and a Farhadi-esque stroke of reality. Feathers in the hat to director Abdullah Mohammad Saad for the approach. The remnant fundamentality offers a soulful whimper of a widow, astray from the consequences of a truth getting split into different perspectives, thus facing the bitter tone of the music she was supposed to combat with her courage and valor.
The star of the show, Azmeri Haque Badhon, goes through a colossally intrinsic journey and the acute coldness, percolating in the frames throughout depicts the grotesque consciousness and exhaustion in her eyes, and Badhon puts the last nail in the coffin with absolute brilliance emitting right from the moment she steps on to the cacophony.
The cinematography is the unputdownable mast to a soaring ship, comprising of some masterful framing, add to it, an array of jarred editing that works perfectly to the ambience, acting as an apparatus of controlling the tension of the third eye witness the story unfold, with a note of sheer ambiguity.
To pen down a last few words, the subject does imminent justice to the crisp screenplay while it slowly evolves inside one's mind from within, shattering every inch of morality in pieces, slowly but steadily. Society is a predictable circus of puzzles that needs to be changed inevitably, but the forces of patriarchy and general consensus always takes the "weaker sex" down to hitting the rock bottom, finally reaching to find a way of absolution of mental solace. Rehana Maryam Noor minimalistically checkmates the odds and favours, and establishes itself into a cataclysmic ballad of feminine struggles in daily life.
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