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Amidst the terrors of the post-revolution, war torn Tehran of the 1980s, Shideh elects to stay in the city with her daughter a mysterious. But then evil begins to haunt their home, attempting to possess her daughter. Shideh has no choice but to confront these forces if she is to save her daughter and herself.
Did you honestly doubt that peeling duct tape and a sheet of printed fabric, if handled with imaginative brio, could be as frightening as any ten-million-dollar monster? O ye of little faith.
The most consistent fear in Anvari's film is that of being a mother and daughter alone in a world that won't help or respect you. Far more so than djinn, this is a fear that doesn't easily dissipate.
Anvari makes great use of this highly specific time and setting -- the air raids are always unnerving and one sequence in which Shideh runs into the empty streets of Tehran in a panic is just terrific.
A sinister tapestry of urban unease and feminist fury that turns an ordinary domestic setting into a place of skulking terror. Original and deeply creepy.