Mohammadreza Aslani has managed to create a story containing symbols for all major Iranian members of society during an unclear time in either Qajar or Pahlavi dynasty, including the wealthy aristocrats, the struggling community under the poverty line, the narcissistic religious community, the intellectual thinkers and men and women of a traditional belief system, all of whom live under the same roof in a stylish enormous house resembling both contemporary and ancient Peraian paintings, which forms a gothic tale of greed and murder, leading to symbolic foreshadowing of multiple revolutions that have and are bound to take place in Iran. Though such references might mostly be comprehended by an Iranian audience, its unique form of storytelling, in addition to its masterful use of light and colour, will undoubtedly capture the eyes of any audience. It is, also, worth highlighting that in Chess of the Wind, the most dazzling performances in the history of Iranian cinema are witnessed, particularly those of Fakhri Korvash as Khanoom Koochik and Shohreh Aghdashloo ( later nominated for an Academy Award for House of Sand and Fog ) as Kaniz whose dynamic is not to be missed.
Review of Chess of the Wind
