Thursday 18 April 2024
1:56 PM | | 42 Fajr

Bodiless: An Adaptation of Some Criminal Cases

Bodiless: An Adaptation of Some Criminal Cases

The press conference of “Bodiless”, a movie based on several criminal cases was held late on Friday February 2nd attended by the film’s crew. Seyyed Mostafa Ahmadi, the producer; Kazem Daneshi, the scriptwriter; Habib Khazaeifar, the composer; Mehdi Sayyad, the make-up artist; Morteza Alizadeh, the director; Mehdi Sa’di, the editor; Mehran Mamdouh, the cinematographer; Amir Zaghari, the set designer; and the media people were present in this session at the Milad Tower International Conference Center. Daneshi, the scriptwriter of the movie, noted that the movie has been written based on several similar cases, denying the rumors claiming that the movie was based on one particular case. Ahmadi, the producer, said that the Iranian Organization of Cinema and Audiovisual Affairs had cooperated a lot with the filmmaker to make this project possible. In response to the question why you deny adapting the case of Ghazaleh and Arman, Alizadeh, the director of this feature film stated: We made a social film in which a criminal issue takes place. We made the movie impartially, trying not to take side for or against execution and retribution. I must say we are not going to judge the actions of the characters in the story; Rather, we mentioned everything that was in the society. “Bodiless” is more about people’s social relations and also a criminal incident happened in the heart of this society. In another part of the press conference Khazaeifar, the composer of this film, said that making the music of “Bodiless” was difficult and challenging because the film had a criminal theme and the grief of a family was also present in the story. Mamdouh, the director of cinematography of “Bodiless,” commented on the difficulties of producing this work. “Our filming time for this movie was limited, and we had to have at least 60 filming sessions, but it became even more limited. He also said, “The movie had a documentary-like atmosphere, and we agreed to avoid any special camera movements or lighting further to the talks we had with the director and producer. We worked long hours, and in the end, we completed the production in 42 sessions… If we had more time during pre-production and production, the film would have certainly had better quality”. Daneshi, the scriptwriter, emphasized that the authenticity of this film is based on the narrative to create a work that would attract the audience. Alizadeh said in another part of the presser that they had intentionally chosen a realistic style of cinematography and mise-en-scène to distance the movie from a feature film and move it closer to a documentary.

Unfortunately, your current browser is old and not supported!

Please use the latest browsers such as Google Chrome and Mozilla Firefox.