Pure Innocence Moment

This film (drama)Also known asنون و گلدون，is aIran, FranceProducerwomen sex，At1996Released in year 。The dialogue language isPersian，Current Douban rating8.6(For reference only)。

Director: Mohsen Makhmalbaf (Iran) The magic of cinema lies in its ability to reconstruct time, as if life could start over. Iranian director Mohsen Makhmalbaf was a radical in his youth and was imprisoned for attacking and injuring a police officer. After being released, he abandoned his political ideals and embraced cinema as his faith. While making "Viva Madagascar," he unexpectedly discovered that the police officer he had attacked years earlier was among a group of auditionees. Subsequently, he crafted the film "Moment of Ignorance" based on their shared story. The director attempts to reconstruct the attack he once perpetrated and invites the other party involved—the police officer—to collaborate on this reconstruction. He casts two young actors to portray the young Makhmalbaf and the police officer, who each recount their actions to their respective portrayals before filming the assassination process. Of course, the director is not only Makhmalbaf; the police officer is also part of the narrative. In fact, he expresses his own wishes and ideals throughout the reconstruction process. Initially, he has his actor offer a flower pot to a girl who comes to ask him for the time, and later, he instructs the actor to shoot at her. Both actions are things he did not do back then. Another character is Makhmalbaf's cousin, whom he used as a cover to ask the police officer for the time during the attack. The officer remained unaware of this, cherishing a memory of the girl who always approached him to ask the time until he realized the truth during filming when he saw a young actress walking toward his portrayal along with Makhmalbaf's actor. Feeling deceived and hurt, he alters history for himself: he tells his portrayal that no matter who approaches and talks to him, he should shoot at her, including the girl. He attempts to express his anger and hurt in the reconstruction of the past, wishing that life could start anew! This attempt at reconstruction leads the director to a clever fiction, which transforms the story of the past into the present tense, making his reflections on the past appear more sincere. The documentary-style filming is simple and candid. At the beginning of the film, Makhmalbaf auditions two 17-year-old actors to play himself and the police officer. The actor portraying him states that his dream is to save humanity, while the one playing the police officer appears quite earnest. The officer, dissatisfied, refuses the role, saying that if the director changes his mind, he can find him somewhere else, and storms off. When the cameraman asks the director if he wants to bring him back, he replies that the role is very important to him, and he will return. The actors perform as if living their lives, and the director films as if living his life: look, this is my life, and so it is my film. When the police officer teaches his portrayal how to present a flower pot, Makhmalbaf's cousin's portrayal happens to pass by and asks him for the time. The magic of the film transcends time, resembling a naturally flowing palindrome. The intentions of both directors are ultimately subverted by a few young actors: the radical offers a large pancake, while the police officer presents a flower pot, replacing daggers and handguns.