Silence Again (Mohammad Kamal Alavi) Iran |

Silence Again
Mohammad Kamal Alavi
Iran. 2022. 12 min

A young woman lives on a hill far from the city. Alone and in silence. She farms and takes her produce to the city on an old motorbike. On the way back, a scarecrow catches her eye. The woman returns home but can not get out of the scarecrow’s mind. She gets up in the middle of the night and walks in the dark. The next morning, the scarecrow is at the woman’s house. The woman is no longer alone. She changes the look of the scarecrow and gives it a feminine look. The woman’s relationship with the scarecrow gradually deepens. One day the woman returns home. When she opens the door, a scarecrow falls on her face and injures her. The woman throws the scarecrow out of the house and sheds tears alone and broken. The next morning the farmland, roads and houses are empty and silent. In the middle of a paddy field, a woman stands in a scarecrow shirt and hat with her arms outstretched. Still and motionless, like a scarecrow.

MOHAMMAD KAMAL ALAVI

Mohammad kamal Alavi is an Iranian film director, actor and production manager. He is born on Oct 20, 1983 in Tehran , Iran and graduated in advanced direction from School of art and architecture , Tehran center.
He has directed four short movies : Nim/half – The Puncture – The Single Horn – Silence Again.

He has been in many films as production manager, like Farnoosh Samadi’s movies and they have been in many festivals like Cannes, Locarno, Venice.

DIRECTOR,S NOTE

When we are alone there is nothing to hide, it is our true self that lives, walks and falls in love. Due to the geography in which I live, I consider being a woman to be a constant challenge for women, and telling their stories is one of my main concerns in making films. Depicting a lonely woman, far from everyone and close to her, with an unconventional love story doubled my motivation for making the text. Also, the concise and minimal narrative method, without dialogue and atmosphere, made it possible for me to rely on the essence of cinema, the image, in decoupage, and to objectify my mental images. And in the end we are all alone.

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