Shadi Karamroudi (b. 1990) is an Iranian actress, director and screenwriter. She learned the basics of filmmaking and acting at Karnameh Film School in Tehran and graduated with a master's degree in Dramatic Literature from Soore University, Tehran in 2020. “It turns Blue” is her third short film as a director which is written, directed and produces by herself.
“It Turns Blue” is screening at Busan International Short Film Festival
The movie begins inside an apartment where Morteza is painting a wall blue while playing with his daughter, 3-year old Raha, asking her to put her palms in the paint and touching the wall. A bit later, however, the girl takes his phone and throws it in the paint, which results in him getting violent with her, although this part is implied and not actually shown. Not knowing what to do, and since her mother is to pick her up soon, he calls his sister Pari to help him calm his daughter and handle the whole thing. Pari takes control of the situation, taking care of the girl's wounds and then starting a game with her in order to cloud her mind about what happened, while forcing Morteza to play the kind father, as if nothing has happened.
Shadi Karamroudi directs a very interesting 15-minute short, which actually uses the concept of child abuse in order to highlight the role of Pari and the decision she has to make. Essentially this means that the despicability of the father's action is actually placed in the background, although one could say that both his decisions (to beat the girl and to try to cover it up) highlight his persona quite eloquently, and perhaps imply the reasons he is divorced.
In the main subject now, the rather intriguing dilemma Pari has to face is whether her duty is towards her brother or her niece (or even justice if you prefer), in a conflict that is, evidently, quite hard to decide on. Her actions, perhaps without much thinking, more as a reflex one could say, have her protecting her brother, in a decision though, that essentially makes her as despicable as him, and even more so considering the manipulation involved. The look the two exchange, as her mother picks Raha up, is definitely one of complicity, with Karamroudi, however, having her protagonist becoming more and more burdened by her decision, although through subtle body movements and facial expressions, rather than an ‘in-your-face' style.
The surreal ending, however, which connects the story with the title and with the turning of the girl's bruises, shows that something has changed and that the truth cannot be hidden forever. Lastly, the way Pari behaves can also be perceived as another element in the analysis of Morteza, since the fact that she is not surprised at all, neither by his deed or the fact she has to bail him out, adds to his portrait even more. One could say that there is a ‘girl power” element here, since Morteza beats his daughter, lies to his ex-wife, and takes advantage of his sister, but considering the level of patriarchy in Iran, this aspect is actually realistic than polemic.
Leili Rashidi as Pari is definitely the protagonist of the movie, with the way she changes for her interactions with her brother, ex sister-in-law and niece being all impressively portrayed, as much as the guilt that eventually takes over her. Also convincing is little Hana Dezhagah as Raha, who plays a rather difficult role quite realistically.
Masud Amini Tirani's cinematography is another of the movie's best traits, with his frames being impressive, as much as the way the color blue is implemented throughout the movie. The ‘complicity' scene and the finale definitely stand out in an overall balanced work. Pooyan Sholevar's editing results in relatively fast pace that allows for the characters and their actions to be explored thoroughly in the economical 16 minutes of the movie.
“It Turns Blue” is an excellent movie, both contextually intriguing and well shot, in another testament to the quality of the modern Iranian cinema.
