What Arsalan Amiri and his team have done in writing and creating the film “Zalava” is exactly the missing piece in Iranian cinema that has been yearned for over the years. It is a thought-provoking and dramatic film with a strong narrative. In recent years, Iranian cinema has either abandoned this path or fallen into the trap of being either overly focused on messages and themes, neglecting its main mission of entertaining and engaging with the audience or getting entangled in shallow and sensational issues, which has ultimately led to a sense of dissatisfaction among the audience. “Zalava,” contrary to this trend in Iranian cinema, approaches storytelling in a noble and professional manner, incorporating captivating and impactful elements within its narrative.

“In this path, “Zalava” chooses the theme of fantasy and folklore as its main focus and defines the story of a rural settled community throughout its 93-minute drama. Throughout the film, it avoids resorting to slogans, preaching, or deceiving the audience and narrates its simple yet impactful story in the most smooth and captivating manner possible.”

Undoubtedly, the screenplay of “Zalava” is among the most crucial elements of this work, as the tone, setting, details, and narrative rhythm have been directly influenced by this part. The screenplay, written by Arsalan Amiri along with his wife, Aida Panahandeh, and Tahmineh Bahram, exhibits evident traces of their experience, expertise, and focus. It is a screenplay that brings forth the eerie and surreal elements of the film, along with its eccentric, sympathetic, and romantic characters. Moment by moment, the film unfolds like a completed puzzle throughout the story, and this gradual, precise, and proportionate revelation has prevented any scene in “Zalava” from feeling excessive or redundant.
Character development in “Zalava” is another important and impactful aspect contributing to the film’s success. The characters are well-defined and interact with each other in appropriate settings and contexts. Sufficient information is provided about them, and their past and present are intertwined in a way that creates a sense of completion. For instance, Masoud Ahmadipour’s steadfast role portrayed by Navid Pourfaraj stands out as one of his most shining and mature performances, embodying the elements of a classic hero in an action film, complete with the timeless ups and downs associated with such characters. In a memorable role as a genie, Puria Rahimisam showcases his best professional acting performance, not only demonstrating his acting abilities but also challenging the stereotypes and perceptions created by his previous supporting roles among the cinema audience.

One of the distinguishing features of “Zalava,” which is rarely seen in Iranian cinema or can be counted on the fingers of two hands, is that it simultaneously satisfies general audiences, niche audiences, as well as critics and reviewers. The feedback published about the film confirms this claim; it has gained popularity among domestic critics, won awards at the Venice and Fajr Film Festivals, and also achieved relatively good box office sales during its release.
In the end, Arsalan Amiri’s presence in Iranian cinema and his debut film should be appreciated, and support should be extended to independent cinema. However, Arsalan Amiri should not be considered as a first-time filmmaker on the same level as Monir Qeidi and Saeed Malekan, as films like “Zalava,” “Villages,” and “Zero Day” are the results of years of experience and work behind the camera. The term “first-time filmmaker” does not accurately apply to filmmakers like Amiri, Qeidi, and Malekan. Nevertheless, we must acknowledge and respect Arsalan Amiri’s film, and look forward to his next project with anticipation.