Ehsan Shahhosseini studied directing at the Iranian Youth Cinema Association, but started his career by acting in several Iranian movies and series, before directing his first movie, “The Silence of God”. “Mannequin” is his second student film, and has screened in an number of festivals around the world.
“Mannequin” review is part of the Submit Your Film Initiative
Leila, a very beautiful woman, is putting on lipstick before making a call. The scene then changes to a mannequin-making lab just before the titles of the movie appear on screen. It turns out that it is the day of the birthday of Leila’s husband, but her attitude towards him is not exactly cherishing, something that seems to be a constant in their relationship. While he states his protests, she is dismissive, condescending and essentially rude to him, a behavior he tolerates stoically. Eventually, a gift arrives to the house, but to his surprise, it is a mannequin dressed in a costume, which Leila soon takes to her room. A man from a party service arrives then, and with his crew, they start decorating the house. The husband is trying to find Leila in her room, but she is not answering, while, as soon as he goes upstairs, he finds himself in a house that has turned into a club of sorts, with alcohol and drugs being in abundance. However, that is not the only strange thing that is happening.
Ehsan Shahhosseini directs a film that functions much like a stage play, as it takes place inside a house. Furthermore, the acting, particularly of Mahsa Akbari as Leila, is also characterized by a somewhat excessive theatricality, which could have been done on purpose, though, to add to her pretentiousness. In terms of narrative, although it starts as a family drama of sorts, the initial image of the mannequin, and more so, its appearance in the house and the subsequent disappearance of Leila reveal that this is a different kind of film than it initially showed.
As the party begins, a sense of disorientation starts taking over, which is excellently mirrored in the reactions of Nima Haghighi, who plays the husband here, as much as the attitude of the guests in his house, who do not seem to know who he is. The drugs and the drinking, under the sounds of loud electronic music, gradually show that something bad is going to happen, with violence eventually ensuing, although it is not actually depicted in the film. In the meantime, the whole message of the movie is presented through the last scene, that seems to state that what Leila wanted all along was a puppet to dress and behave to as she wants. The comment is unusual, particularly since it seems to be a distinct accusation towards controlling women in general, but is quite justified by Leila’s attitude and the whole build-up of the story.
Despite the evident low budget, the quality of the framing is quite good, with DP Yashar Divargar creating a claustrophobic setting within the house, even throughout what is actually a party, with the fast cut editing by Shahhosseini and Arad Hessari also adding to this sense, as much as the whole atmosphere of disorientation that permeates the narrative.
Although initially it seems as an amateurish effort, in the end, “Mannequin” emerges as a captivating drama that turns into a thriller, with Shahhosseini presenting his main comment quite eloquently, while retaining the entertainment throughout its 17 minutes.
