Leila's Brothers

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It's about the Iranian people's life that lives along with massive problems. Some awful costumes and traditions are ruining life, and this movie accuses them. The country and its economy are not stable and people cannot have plans for their future, then the best way and the worst at the same time is to immigrate. This movie shows the conditions fantastically so you think this is real and it is my life because Iranians feel it even though they earn enormous money. I do not say enjoy the movie (it is a real painful story), just feel it. The story and actors act great and were the best choice.

Leila's Brother is a captivating and thought-provoking Iranian film that provides a glimpse into the real struggles faced by people in Iran. Despite being banned by the government, the film is well crafted with excellent direction by Saeed Roustayi, good acting, and a well-developed script that builds strong characters. The movie engages the viewer from beginning to end with its engaging plot. It's a shame that this film didn't receive the recognition and financial rewards it deserved, as it is a well-done piece of cinema that highlights the talent of the Iranian film industry. Highly recommended for anyone who appreciates a well-crafted film with an engaging storyline and powerful social commentary.

True Masterpiece This is life in Iran for poor people , this story is completely true Thank you Saeed roustayi Iran's best actors are in this movie, and they all played wonderfully This movie deserved more awards and deserves a much higher rating on imdb Some of the scenes of this movie were against the ideas and culture of Iranians and that's why this movie didn't win many awards But I say that this movie can give good advice and lessons to the new generation This is life in Iran for ordinary and poor people, and this proves that the story is true, just like Asghar Farhadi's films. But I believe that this film is better than Asghar Farhadi's films and deserves an OscarMy rating for this movie is 9/10.

Part one, Leila In "Laila Brothers" there is light, there is a lantern, and that lantern is "Laila"; Not Leila herself, but Leila's "rationality". Leila is the lantern of the story; It is a lantern because it wants to overcome corruption with the power of reason. This "Laila" is no longer "Sumiya" who has no choice between the two options of putting her pelvis under her mother or being sold to a rich suitor. No! This Laila is the axis of the family's rationality. This Leela offers a "solution". Why? Because he wants to live. Leila is the life-creating woman whose concept has recently been formed in the society and it is natural that this life-creating and rationalist woman cannot be commanded or forbidden. Leila has understood that there is an "intergenerational" problem and a large part of the problems is rooted in the irrationality of the previous generation, so it is necessary to stop the burning of the lives of the fathers, it is necessary to stand up and mobilize the brothers and even slap the previous generation! The film "Leila Brothers" also shows the multi-layered misery of Iranian life: family, society, politics. A person is born in the midst of superstitions and family traditions, and until the generation of his parents are alive, he feels the claws of this pettiness on his throat. At the same time that he is involved in family ignorance and irrationality, he must cross the minefield of society, and in the meantime, macro-economic corruption and Trump's tweets fall on his life like a bomb. If he passes this layer, he will fall into the traps of the next layers. The political-economic variables governing people's livelihood become so complicated that the citizen can no longer calculate. The first mistake becomes a fatal mistake... the normal affairs of life become a game of life and death, and from one place to the next, nothing can be fixed... In this labyrinth of depravity, the girl must become the axis of rationality in life, fight against all the foolishness and weaknesses of personality and culture and pull the blanket of her brothers from the water, that too in a house where her father sees the masculinity of the baby in a swaddling clothes, flowers bloom from flower to flower...

It's fair to say that life could have been better, that in the scheme of things you feel like you're a debtor, always helping others out, without a curse, bad word or shout, now it's time to make a stand, be the pacesetter. An opportunity to build a brighter future, for your brothers who perpetually are moochers, just need to find the capital, 40 gold coins would fit the bill, but you'll have to play the role of party pooper. This is a fantastic piece of storytelling, that keeps you entranced for the entirety, as Leila does what needs to be done to drag her impoverished family out of their mire by acquiring a small retail outlet to start a family business. As you'd expect, things don't quite go to plan, especially as her aging father has his heart set on becoming the patriarchal leader of his wider family, a family that seeks to take advantage of his aspirations for their own financial gain.

Without its sophisticated political metaphors, the movie would turn out mediocre. I gave a 10* to balance very low ratings from those who are not familiar with Iranian traditional culture, society, and political regime. It deserves an 8 overall. Dialogues and acts from Navid and Taraneh are not at their best potential but the storyline, Poursamimi, Farhad and Peyman, and above all the illustrative political narrative are just brilliant. The movie starts somehow disappointing with a super-spicy load of exaggerations but gets better and better on its way. A must-see for every Iranian during this historical period of transitions.

People of the world who watched this movie, be aware that all these traditional customs that you saw in this movie, even in today's rural communities of Iran, are primitive and hateful customs that belong to a century or finally 30 years ago. Today in Iran, if there is a dominant tendency, in most cases it is the tendency of filial piety and matriarchy. Since our filmmakers know that feminist movements have the most attention, the most money, and the most influence in political and cultural circles, they falsely include these themes in their films to succeed and win awards at festivals. A 46-year-old educated and well-read man tells you about these sentences. A man who is strongly against the political system ruling Iran. I have seen many urban families and rural families in different ethnic groups in Iran. In cases such as the mandatory hijab or division of inheritance, women in our country are oppressed, but in more cases such as family financing, marriage duties, mandatory military service, workplace safety, and even sometimes custody of children during divorce, it is men who are under oppression and social pressure. Of course, in a case like family violence, women and children are more victims in some ethnic groups. But there are not a few men who are victims of family violence in urban and even rural communities. Filmmakers do not have the authority to regulate these issues. This qualification belongs to those lawyers and jurists who do not have this possibility. Today, in most countries of the world, it is men who need their rights to be protected the most. If the filmmakers have the honour and are not hungry for recognition and awards and want to create a real and lasting stream, they should address this issue.