Leila and her brothers: Awful, dirty and nasty with Iranian sauce [critique]

Despite a sluggish start and lengths in this story of nearly 3 hours, the director of The Law of Tehran succeeds in entering the Cannes competition

One year after the shock Tehran Law, the Iranian Saaed Roustayi takes a new step with his third feature film: his first selection in the Cannes competition. The Leila of her title is a woman who tries, against all odds (and everyone), to get her family out of the bankruptcy in which her band of brothers has led her, small-time schemers who fail in everything they do. , almost without exception. She thus finds the good deal capable of putting all this little world afloat and had anticipated everything except the fact that her father will prefer to devote his savings to a donation for the wedding of a cousin of the family in order to become the patriarch of the clan. . An honorary title certainly but prestigious which he does not intend to give up for anything in the world, even if it means precipitating the ruin of his family.

Registered in an Iran strangled by a massive economic crisis, consequence of the tensions with the United States on bottom of nuclear threat, Leila and her brothers looks like a diesel. It takes time, a lot of time, too much time to set up but once this installation has been made, the film takes off with explosive scenes where none of these characters intends to let themselves be stepped on and give an inch. ground. There is Awful, dirty and wicked in this family tragedy which more often than not flirts with black comedy and plays with the exhaustion of the spectators over scenes where the members of this family climb higher and higher in the towers, giving more and more plus the feeling of never wanting to get off. Leila and her brothers never tries to make himself friendly and his appearance in almost permanent overspeed will put some people off. But at least Roustayi goes to the end of his bias in a game of massacre of the failings of an Iranian society plagued by the excesses of patriarchy and shenanigans without brilliance at all levels. All served by an impressive cast (most of them already on the bill of Tehran Law) which, without forgetting the lengths inherent in this 2h45 duration, offers pure moments of bravery that stay in your mind for a long time once you leave the room.

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