In One. Two. One, the entanglements between a woman, three men and other figures are slowly revealed in dialogue and monologue scenes. Expectations, projections and the relationship between the sexes are expressed by means of desire, self-affirmation and the wish to possess. Couples meet before and after their separation: a dizzying merry-go-round.
For her second long feature film One. Two. One, Mania Akbari chose a special, uncompromising form consisting of long takes followed by static shots, in which the protagonists' discussions and facial expressions form the focus of attention. The complex and contradictory relationships between the various protagonists are revealed frame by frame.
For her second long feature film One. Two. One, Mania Akbari chose a special, uncompromising form consisting of long takes followed by static shots, in which the protagonists' discussions and facial expressions form the focus of attention. The complex and contradictory relationships between the various protagonists are revealed frame by frame.