There Is No Evil

In an austere Iranian landscape where ordinary routines sit beside the weight of state duty, a quartet of men confront the quiet terror of moral compromise. The film weaves four interlocking vignettes, each a study in how everyday life is haunted by the invisible line between obedience and conscience. The tone is restrained yet palpable, letting the stark scenery and hushed dialogue amplify the inner turmoil that each protagonist carries beneath a veneer of normalcy.

Heshmat is a family‑man whose days begin with simple acts of kindness—a rescued cat, a shared meal—before the looming responsibilities of his work intrude, reminding him that his role extends far beyond the domestic sphere. Pouya is a young soldier whose aspirations and love are tangled with a compulsory order that forces him to weigh his future against a stark command. Javad stands on the cusp of a personal milestone, his hopeful plans shadowed by a past that resurfaces in the presence of his loved ones, testing the fragile foundation of his relationships. Finally, Darya arrives at a rural home seeking connection, only to discover that the bonds of blood and sacrifice have been forged under the same relentless pressures that shape the lives of the men around her.

Each episode is bound by a common thread: the relentless demand to participate in actions that clash with personal values, set against a society where dissent carries profound cost. The cinematography captures the contrast between intimate domestic moments and the impersonal machinery of authority, creating a mood that is both contemplative and unsettling. As the characters navigate their intertwining paths, the film asks how far one can go while preserving self, love, and integrity, leaving the audience to linger on the quiet echoes of choice that reverberate long after the scenes fade.

Last Updated: August 10, 2025 at 00:47