meal [1996] Analysis: Glimpses into a lyrical deity

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meal Or the magic carpet in the oriental imagination is the joy of the traveler and the means of sailing far and unknown. In Mohsen Makhmalbaf’s film (the first in his “poetic trilogy”), he is a meal It is found by an old couple, floating on a river, which sweeps us through the grounds lined with waterfalls of clear water and clashing colors. This rippling carpet, in blues as varied as shades of sky meeting the horizon, featured a knight carrying his girl away across what seemed to be an endless plateau.

Made in the shape of a young road-traveling girl (Shagha Djodat) of the Qashqai tribe, this mysterious carpet enumerates the sequential tones of events before they actually happen. Here, Providence and phenomena mingle in a nervous whirlpool that almost always drifts into the field of intimacy. There is a slight intoxication in the ether which remains essentially calm, save the occasional charged spirits of the Bedouins, enabling us to indulge in the blissful drowsiness that accompanies a sweet dream.

Gebbah’s self-fulfilling orally clairvoyance has been translated into poetic philosophy. Her prophecies are proven correct, but they seem to a great extent a fictional invention. Close-ups loom over her lively strains, as they speak, with the lady holding her shoulders; A remote synchronized shot is the discovery that she is invisible while the lady rinses the kibble. Interestingly, Jabeh stands mirroring the woman in her royal azure garb, showing, by chance, her own reflection in another time dimension, while they are sitting facing running water, hinting at the elusiveness of time.

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The knight calls her with his cries that reverberate in the valleys. However, their company is indefinitely disrupted. On the other side of the terrain, a Bedouin school where rosy-cheeked children are taught is shot out of doors. They run about representing nature in a state of flux, while a forest, quiet in its contemplation, spins in the threads of fate. Here, the color is even brighter: the luminous curtains and rugs that are bound to burn your eyes, and the khaki grass that pulls you in. This is a search for love, eye contact with a perspective of possibilities, the study of structure amidst the grandiose contrasts of their rugged environment.

Jubbah awaits the return of her uncle, who trains nomadic children to understand nature in its spotted perfection, with the intent of touching self-realization. He makes mystical gestures summoning red poppies and yellow wheat as if holding them in the palm of his hand, and he does so, holding a corn of plants before their eyes. His hands come back stained in hypnotic disguise as he tries to capture the cosmic and aquatic glow. The deep blue color, linking the boundless elements of sea and sky, is reminiscent of “Mino” or the Persian poetic word for “heaven”, where a cheerful disciple looks on while praying. The world of vertigo is thus a world of restorative spontaneity, divine contemplation, and spiritual transcendence.

The Jubbah Bedouin tribe has its deep roots in nature, as reflected in the ever-evolving tree that it calls “Code [her] family”. As earthlings, winds, and trees, they signify in their cohesion a universal and personal connection. Being reunited near the Tree of Life is a reminder of their ancestry and rebirth, their bonding and paternal piety.

meal It combines simple realism with folkloric dream in a balance between intuition and perception, vitality and reverence. There is a sacred hearth in society, peace in simplified living, perfect harmony in love, beginning at end. It is the place where memory ripens and youth immerse themselves across rocks and valleys, to settle into divine proximity and eternal duration, which Iranians call the “Baqa”. Here, memory is constantly rewritten and replenished by word of mouth, a continuity that will live on through the images woven into the burlap rug. New threads are superimposed upon existing ones, as overlapping stories and memories accumulate, people bumping into each other at a crossroads.


Makhmalbaf presents an ornate visualization with rich authentic acoustics that make sure to coordinate the senses (where colors interact to generate other colours) to realize their immense quality of pantheism. meal (1996) is a poem about life and iridescence in the same way Silence (1998) A Prayer for Harmony. Thickly immersed in mysticism, lounging in the sunlight symphonically with the beat of the human heart.

Accuracy and clarity match in strange ways. And tickle consciousness with glimpses of lyrical divinity. dukeor the “tasting” of experience without an intermediary, which is the essence of Sufi philosophy, becomes the ultimate truth.

Read also: the cow [1969] A pioneering masterpiece of Iranian cinema

Forest (1996) Introduction:

Meal (1996) links: IMDb, liter box d

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