The movie tries to tell the story of just one person, one person who in a surreal condition or under the influence of chemical reactions has unleashed a wide imagination of his/hers to be a stage for many sides of his/her characters in order to interact and even probably fight different thoughts on his/her mind in some ways I like the way the writer borrowed this technique of story making from sadegh hedayat (I quess, a vastly known writer of iran). Starting from the initiation point,some people acknowledged the movie as the story of two girls meeting with the devil or some others as an effort of the writer to address many problems of society in one picture, which are all wrong!!! If the girls feel liberated from one level of control there's always another. But I'd offer this: It extends its heroines an extravagant freedom in character and power but only to rein them in to serve a larger power beyond their normal ken. Without a clue about how this film would be read by its home audience, I'm wary about any interpretation. (That could be a better course to world peace than the UN.) To Toofan Tehran is paradise but he dresses Western cool. Of course their destiny is resolved by a game of paper, rock, scissors. If the girls began by being cocky about their freedom and power, Toofan subdues them, bending them to his will to the point of tempting them to a suicidal plunge putatively into another dimension. From then on Toofan takes control of the girls' lives and possibly their minds. He brings Saddam Hussein into the car and has the girls drive him to a meeting in a limo. Toofan's reappearance shifts the film to surrealism. Satisfied, he lets the girls off in order to question their male friend. The girls properly criticize it for its inaccuracies and for its insulting over-generalized representation of Iranians. The one escorting them to the police station asks for some intelligent criticism of the film Argo, so he can pretend he's seen it. They're not alarmed by the girls' breath tests. The police are surprisingly considerate, given what we hear of Iran. Toofan pays the man's car damages and disappears when the police come. After this humorous scholarship toilets become a pressing need for the girls. Toofan explains the history of Western toilets and their debt to Iran and China. The second is the mysterious stranger Toofan who crops up there and continues magically to till the end. Driving the wrong way up a one-way street, they hit another car. Two things jolt the girls out of their sense of power. Later the elevator will run out of her control, with her friend first inside then magically transported to the high-rise's roof where her life is endangered. In the first the redhead stops and starts the elevator doors from the outside, mischievously playing the machine. A couple of elevator scenes frame their change in attitude. In short, they appear to be two young women exercising a power we're astonished to see Iranian women have. They're brassy when they talk to their male friend and a cop. The girls begin as most un-Iranian heroines: self-indulgent, tipsy, indecorous, flashy, stylish, keen proponents of Western culture, as they sing "We Are the World" and cite Celine Dion. It's a surrealistic version of Taxi, with two 20-something dyed-hair party girls navigating the wild night streets of Tehran in place of that film's earnest driver. Atomic Heart flies in the face of everything we know about Iranian cinema.
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