WATCH THE TRAILER HERE
First, the Recap:
The shadow of war. With the looming fear that covers the land in times of strife, there is the even deeper, emotional toll it takes on all who are affected by its devastating hand. Once one is in the very midst of conflict, how do you find the absolute fortitude to withstand the coming storm? Nighttime in the isolated mountains as the roll of thunder echoes across the darkened skies, lightning providing the only glimpses of light, rain pouring down. In a small home, a wife and mother (Basti Jafarova) tends to an overtly weakened and suffering husband and father (Sabir Mammadov). Realizing their need for additional food and aid is paramount, the wife rises to go, despite the feeble protests of her ailing spouse.
In an adjoining room, the couple’s young daughter Feride (Konul Iskender), huddles frightened and unsettled by the rumble and booming of the maelstrom outside, even as her mother attempts to comfort her. Also evident with both of them is the concern for their other family member, Ali (Adil Damirov), a solider currently involved in the struggle encompassing them all. Believing he is ok, and despite Feride’s insistent pleading, her mother chooses to head out into the night, to gain the needed supplies. Left alone, Feride checks on her bedridden father, whose suffering seems to only be increasing. Wanting to relieve his pain, Feride goes to fetch the medicine she was advised by her mother to provide him, only to have revealed the actuality of her circumstance.
Next, my Mind:
What consistently fulfills me as a critic is when opportunity has been given to become a part of a director’s path from the first stages of filmmaking to present, watching as the content and quality of their projects improves with each effort. Such has the case been with Azerbaijan-based writer/director Tofiq Rzayev, who delivers his newest short film effort, in conjunction with co-writer/director Fidan Jafarova, with a fresh level of maturity and an impactful narrative which clearly establishes him as a potent presence in the indie film arena. A straightforward, simple, yet deeply emotive, highly affecting, heart wrenching perspective on war and the utter sorrow it holds over all it touches, this 9-minute foray keeps the viewer’s attention engaged for its entirety, hitting home with the intended exactness desired. The cinematography is clear, smooth, and professional in caliber, the best yet I’ve seen in Rzayev’s films, which only adds to the appeal.
This is truly an ensemble picture when it comes to the cast, as everyone has their specific and integral part to play in such a powerfully executed story such as this. Jafarova’s longsuffering but dutiful, loving, steadfast Mother is wonderfully played, showing a woman who’s no stranger to hard times and who likewise knows the inherent risks she’s willing to take for her family’s well-being. Mammadov’s Father is also well-played, a man knowing his time is limited, desperate to still be there for his wife and kids, but also fully knowing the realities of the hostilities raging so close to home. Damirov’s Ali also constitutes a pivotal sequence here, but to delve into details would honestly take away much of the impact his part entails within the greater narrative. Suffice it to say, it carries weight. But the ultimate performance belongs to Iskender, whose Feride has to weather what is unquestionably the most gripping, decisive moments in the film, and does so with believability, poise, and genuinely portrayed sentiment.
Rounding out the overall scope of this project is composer Gergo Elekes’ effective, uncomplicated, music score with which, in total, “Araf” presents itself as a new feather in Rzayev’s filmmaking cap and proof positive that independent film is very, very much a fantastically fruitful, internationally embraced medium.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
