We are used to Iranian films that are different. Many of them feature plots inspired by everyday and family life, and their beauty lies in the combination of subtle subjects and dialogues and the presentation of the life in a country dominated by tradition and ruled by a regime that inspires fear within and without. ‘Law of Tehran‘ (also known as ‘Just 6.5‘, the original title being ‘Metri sheh va nim‘), written and directed in 2019 by Saeed Roustayi, surprises at first sight with its almost Hollywoodian structure. It is a crime movie that follows the violent confrontation between a policeman and a drug lord, between the world of law and the world of crime and a realistic presentation of a judicial and prison system dominated by cruelty and corruption. Many of the American or French films with violent gangsters (always however dedicated to their own families) and police officers who do not hesitate to put their careers in danger and use any methods to bring them to justice have similar themes and plots. And yet, we also find in this film the deep characters and the outstanding acting that have made Iranian cinema one of the most interesting recent phenomena in the art of film.
Samad Majidi is the head of an anti-drug squad in the Tehran police. The system he is part of is waging a seemingly hopeless battle with the drug gangs. The police and judicial system is violent and corrupt. Majidi himself is constantly the target of intrigue and his methods of action often put himself in danger. A single mistake, a denunciation by a colleague or a libel can throw him on the other side of the law. The police decide to move their investigations up the hierarchy of organized crime, ending up arresting Naser, one of the bosses at or near the top of the pyramid of drug gangs. From the moment he appears, most of the astory moves from the city streets to the overcrowded prisons, depicting the gradual downfall of the drug ring leader.
‘Law of Tehran‘ has undeniable cinematic qualities. The film’s opening scene, the final scene, the police raid on the junkie neighborhood, and the prison scenes have visual power and emotional impact. The acting is flawless, with Payman Maadi and Navid Mohammadzadeh shining in the lead roles. With this film, Saeed Roustayi proves not only that he is a talented screenwriter and director, who has assimilated the lessons of American action films and European ‘film noir’, but also that he is a courageous artist. His rendering of the police, justice and penitentiary system in his country is critical and realistic. A name to watch.