وقتی همه خوابیم

The Moviei When We All Sleep: Chakameh Chamani (Mojdeh Shamsaii), who lost his wife and child in a car accident, meets a person who has just been released from prison, and on the other hand, is pressured by the driver’s family lawyer to give his consent. The newly released prisoner explains why he was imprisoned and released چ “When we all sleep, it has the form of a Moviei in a Moviei. The Moviei that is narrated in the Film “When We All Sleep” and its name is “When We All Sleep” and its script is written by the character of Parand Paya (Gospel of the Sun), is a work that has all the components of elliptical cinema. Analysis: Some believe that these two narratives should not be separated. But if we leave aside some commonalities of message and content in these two narrative lines, we are faced with two different worlds, each of which has its own characteristics, and perhaps it is not bad to examine these two narrative worlds separately. In the narration that we are dealing with the story of Chakameh Chamani (Mojdeh Shamsaii) and Nejat Shekondi (Alireza Jalalitbar), the script and the performance are well intertwined. Chakameh Chamani is the familiar woman of elliptical cinema who stands alone in the circle of the current patriarchal world and tries not to bend her back. At the same time, his actions are mysterious and complex, and his motivation for seeking refuge in Shekandi and accompanying him is not very clear and has taken on an ambiguous form. For this reason, the spectator is soon immersed in a fascinating suspense that the special form of the ellipse in the performance of the scenes adds to the ambiguity of these complexities. At the same time, his actions are mysterious and complex, and his motivation for seeking refuge in Shekandi and accompanying him is not very clear and has taken on an ambiguous form. For this reason, the spectator is soon immersed in a fascinating suspense that the special form of the ellipse in the performance of the scenes adds to the ambiguity of these complexities. At the same time, his actions are mysterious and complex, and his motivation for seeking refuge in Shekandi and accompanying him is not very clear and has taken on an ambiguous form. For this reason, the spectator is soon immersed in a fascinating suspense that the special form of the ellipse in the performance of the scenes adds to the ambiguity of these complexities.