‘6 A.M.’ Review: A Time-Ticking Thriller in Which the Protagonist’s Freedoms Prove Illusory

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As a long-time resident of Iran and a frequent moviegoer, I have seen my fair share of local films, from comedies that tickle our national humor to dramas that delve deep into our societal issues. In the case of “6 A.M.”, while Mehran Modiri has attempted to enter the thriller genre with his multi-hyphenate talents, I must say it left me a bit divided.

In his second foray into cinema, versatile Iranian entertainer Mehran Modiri, known for his satirical work on television, delves into the thriller genre with a blend of success and failure. He pens, directs, and stars in “6 A.M.”, an intense yet progressively artificial film centered around social issues, where a minor event snowballs into a major catastrophe. Despite the indie production’s resemblance to a mediocre TV series, it manages to present a surprising critique of the nation by depicting how swiftly and completely the government can intrude upon the private lives of ordinary people behind closed doors.

Philosophy student Samira Hassanpour is anxiously getting ready to board an early morning flight to Toronto, where she’ll spend the next three years working on her doctorate. Before she leaves, she shares a meal with her university professor parents and brother Siavash (Mehrdad Sedighian), which she playfully calls her “Last Supper.” Just as they’re finishing up, Samira receives a call from close friend Fariba (Mona Farjad) who persuades her to attend one last gathering with their peers before she goes. Against her initial intentions, Samira agrees, starting a series of choices that will cause trouble throughout the night.

As a cinephile, I found myself in an unexpectedly bustling soiree hosted by Fariba and Peyman (Mansour Nasiri) in their expansive, art-adorned apartment, with its peculiar collection of Western artwork. The evening unfolded with our motley crew, both men and women, indulging in pizza, illicit spirits, and passionate debates on pressing societal issues such as skyrocketing rent costs. Despite my imminent need to dash off to the airport, Fariba had orchestrated a series of captivating music performances that held me captive until they were all played out.

At the 35-minute mark, the doorbell rings and instead of expected goodbyes from friendly faces, it’s the police, responding to a citizen complaint about a commotion. Sara is running short on time to catch her flight, and with the officers potentially making everyone at the party accompany them to the station, her friends secretly usher her into a ventilation shaft for safety. The next 80 minutes unfold with unexpected twists that are better experienced than described, as the suspense remains palpable while the story takes increasingly unbelievable turns.

In the movie’s climax, Modiri, who plays a prominent role as a high-ranking hostage negotiator in the security services, heavily incorporates hints through sound and visuals that foreshadow upcoming events. The script is filled with repeated references to “the last” and “the final.” Instead of employing the conventional ticking clock device to build suspense about running out of time, he opts for a more creative approach by transitioning between short scenes with black screens, which creates an atmosphere of finality, claustrophobia, and apprehension.

Beyond Sara, who continues to make questionable decisions despite being portrayed as intelligent, the other characters seem flat and lack depth. Sedighian, her supportive brother, struggles to convincingly pull off his dramatic actions in the climax. The film’s budget-conscious production design fluctuates between being too heavy-handed (such as Sara being framed behind the bars of her locked and sealed apartment) and puzzling (for instance, why does Peyman’s apartment feature a large Marilyn Monroe photograph, a copy of Vermeer’s ‘Girl With a Pearl Earring’, and Da Vinci’s depiction of his own outstretched hands?).

This summer, the movie premiered in Iran, yet struggled to draw a large crowd. Given the nation’s ongoing societal challenges and the numerous filmmakers imitating Asghar Farhadi who lack talent, it’s not surprising that comedies tend to perform well at the domestic box office.

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2024-12-14 12:16