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The White Meadows

Keshtar haye sepid

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Film employs indigenous folklore for a poignant critique of oppression and the sorrow it spawns, following middle-aged Rahmat as he travels to remote islands collecting the tears of the grief-stricken. Each of Rahmat's destinations are inhospitable places intrinsically related to the misery of their inhabitants, as the waterworks collected by Rahmat in a small glass pitcher bear the same brand of pungent saline found in these landscapes' expansive white salt flats. Rasoulof presents a world awash in briny sadness, save for Rahmat, whose duty is carried out with a quiet, nonjudgmental dignity. Yet no mere silent witness to unhappiness, Rahmat - who, during the course of his odyssey, is joined by a young boy and a blind man - seemingly views his task as a therapeutic calling, amassing his countrymen's tears in a glass bottle as a means of providing absolution for the dead, as well as a small measure of healing for the mournful.