‘In the Arms of the Tree’ Review: Modest Iranian Film Spins Platitudes Following Two Young Brothers Weathering a Divorce

As a long-time advocate for family preservation and understanding the intricacies of familial relationships, I found Babak Khajehpasha’s “In the Arms of the Tree” to be a heartwarming exploration of the complexities that arise when a family faces an impending divorce. The film’s portrayal of the bond between siblings Taha and Alisan was particularly resonant, capturing the unique camaraderie that only close-knit siblings can share.

As a reader deeply moved by stories, I can say that a family is much like a delicate and intricate ecosystem. Some families can weather powerful storms, while others may fracture from the gentlest breeze. In Babak Khajehpasha’s “In the Arms of the Tree,” we follow a couple who have shared over a decade together, as they face the challenging decision of divorce – not just for themselves, but for the harmonious world their two young sons have built together. A poignant exploration focusing on a remote family in rural Iran, Khajehpasha’s film pulses with raw authenticity that truly resonates.

Kimia and Farid (Maral Baniadam and Javad Ghamati) have decided to end their marriage. Despite leading separate lives due to their numerous businesses, they remain bonded by their shared children, Taha and Alisan (Ahoura Lotfi and Rayan Lotfi). The brothers often act as a united team, with Taha taking on the role of an older sibling towards younger Alisan. They’re inseparable siblings who seem to share a strong connection, enjoying games together in the fields, and even napping together in bed, almost as if they have identical daily needs.

As Kimia decides to go her separate way with Farid, it’s evident that their two brothers will also need to be divided. However, neither parent seems ready to tell the boys about this change. Instead, they are being looked after by their uncle Reza (Rouhollah Zamani), a young man who is smitten but perhaps not the most reliable caretaker. He seems to cherish the boys and learns from their innocent perspective of life. Yet, he also finds ways to take advantage of them for personal gain. On one occasion, he asks them to persuade other children to gamble on a risky game: who can stand on the tracks longest as a train approaches, with the winner being the one last standing before the train hits them.

In “In the Arms of the Tree,” that specific scene is filled with an underlying tension, a constant threat looming over the characters. It’s the feeling that a catastrophe could occur if the boys and those around them aren’t vigilant enough. Although the impending divorce and its consequences pose their own risks, Khajehpasha’s script aims to magnify this danger with a raw, palpable edge. The fear that Taha and Alisan’s fragile world could shatter, and that their real lives might be in peril, is what eventually consumes the latter part of this movie. Indeed, tragedy occurs, and the aftermath paves the way for Khajehpasha to convey a compassionate message of hope. This message is carried through the characters of the two young brothers, who serve as vessels to emphasize the importance of parents who care deeply and would go to great lengths to ensure their children’s safe return.

The movie by Khajehpasha, titled subtly with a hint toward trees, predominantly takes place outdoors in diverse settings such as fish farms, flower fields, bustling streets, and crowded markets. It immerses viewers in natural surroundings, often capturing the serene atmosphere through extended shots that emphasize the shimmering sunlight, placing us within the innocent minds of Taha and Alisan. The movie portrays an idyllic innocence in their way of life, and it’s this tranquil simplicity that sets the stage for a more dramatic turn when Kimia’s secret (the source, apparently, of her fear affecting her relationship with Farid) disrupts the peaceful family narrative, transforming Khajehpasha’s film into a more urgent melodrama.

The film’s softness might be overly comforting, not sickening, but evidently made to avoid causing offense: who would wish any harm upon these children, this family, this community? By focusing on a family dealing with fractures and potentially healing, “In the Arms of the Tree” can be seen as excessively sentimental. At the 41st Fajr International Film Festival in Tehran, filmmaker Khajehpasha received awards for best screenplay, best direction, and best first film – setting up this modest family drama to represent Iran’s entry for this year’s international feature race at the Academy Awards. There is beauty in it, a keen eye for authentic acting (not just from the children; Baniadam gives a powerful portrayal of a mother struggling with fears she cannot suppress), but this Iranian home-focused story offers little more than familiar clichés.

2024-12-06 08:46

‘In the Arms of the Tree’ Review: Modest Iranian Film Spins Platitudes Following Two Young Brothers Weathering a Divorce

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