Film Review: ‘Me, Maryam, the Children and 26 Others’ dir. Farshad Hashemi
Rating: ★★★☆☆
Farshad Hashemi’s directorial debut feature film, “Me, Maryam, the Children and 26 Others,” unveils a narrative centered around Mahboubeh, a sculptor compelled by economic constraints to lease her residence to a film crew. Premiering in the Tiger Competition section of the 2024 Rotterdam International Film Festival, the film delves into nuanced themes such as identity, privacy, the suppression of past memories, and societal roles.
The film’s central premise holds promise as it intricately weaves together the complexities of Mahboubeh’s life and the disruptive influence of the visiting film crew. Despite this, the execution often falls short of its potential. Hashemi adeptly captures Mahboubeh Gholami’s compelling portrayal in the lead role, where she remains without Iran’s mandatory hijab throughout, offering a distinctive and commendable performance. Notably, the inception of the film’s primary concept originating from the lead actress herself adds an intriguing layer to the production.
While the film adeptly navigates the unconventional approach of being a “film within a film,” the intricate layers of the narrative prove challenging for both the audience and the director. The complexity of the storyline is not mirrored in the directorial style, which remains deliberately simple and uncomplicated. The visuals, compositions, and handling of the film crew’s presence lack the depth needed to fully engage with the intricate layers of the narrative.
A glaring weakness surfaces in the screenplay, which appears simplistic and fails to elevate the film beyond its acceptable status. The dialogues, even within the film being created within the film, lack the depth necessary to establish a profound impact. The film leans towards an existentialist narrative arc for Mahboubeh, but the execution falls short of convincingly portraying the character’s transformation. The forced metamorphosis diminishes the impact and authenticity of the protagonist’s evolution.
Exploring themes of birth and creation, the film attempts to metaphorically equate the film crew’s intrusion into Mahboubeh’s personal space with a collective birth. The analogy drawn between the crew’s one-week presence and a woman’s menstrual cycle is an intriguing but somewhat contrived concept.
In conclusion, “Me, Maryam, the Children and 26 Others” emerges as a commendable debut effort, albeit lacking the transformative impact that could have elevated it to a standout piece. Hashemi’s meticulous effort is evident, yet the film’s potential is hindered by a weak screenplay and a directorial approach that falls short of navigating the intricate layers of the narrative. While Mahboubeh Gholami’s performance stands out, a more robust script, sharper direction, and enhanced cinematography could have propelled this film into a more distinguished realm within the cinematic landscape.
