Sadly, the film’s final scenes lose their footing a little, clearly unsure of how to close the story, and are indicative of some of the film’s rougher edges. Nevertheless, in its totality Ava is a powerful and authentic depiction of a vital moment in a young woman’s life.
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The film's constant cruelty is so inescapable that it starts to feel unfair not only to the protagonist, but to Iran itself.
Mysius’ startlingly assured, exquisitely shot “Ava” is a film that doesn’t simply explore the textural possibilities of 35mm film for the hell of it, it makes thematic use of them, to stunning, evocative effect.
Mysius loses control of the tone, and the wayward direction of the last half hour, which unfolds mostly at a gypsy wedding and goes on 15 minutes too long, suggests difficulty finding resolution, a common problem with first films.
Along with its arresting visual sense – the film is handsomely shot on 35mm – it can boast a robust resistance to the cinematic cliches of portrayal of disability.