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Red, Light, and Hafez: The Spirit of Yalda Night
Waiting excitedly behind the door of my grandmother’s house, each family member wears a piece of red clothing. The door opens to the warm, loud gathering. We’re greeted with kisses and hugs, our faces still ice-cold from the winter chill outside. Inside, relatives with red-stained hands peel mountains of pomegranates, snacks are piled high on…
Berklee and Beyond: Independent Journeys in Music
Art is an echo of origins. It thrives on experiences, beliefs, and the spaces where we first find our voice. In The Roots Issue of The Persian Magazine, we’ve journeyed into the creative minds of three extraordinary musicians connected not only by their shared experience at Berklee College of Music but also by their distinct…
From Abandoned Brewery to Contemporary Art Hub at Argo Factory
As the preservation of architectural heritage and a ‘reuse’ mindset has gained popularity in arts infrastructure globally, repurposing abandoned spaces into museums and galleries is increasingly commonplace. One such example is Argo Factory in Tehran’s downtown, a rundown brewery that had sat abandoned for over forty years. During that time, parts of the building and…

How Fashion Reflects Character and Conflict in ‘Corrupted Hands’

The fashion and clothing choices in Corrupted Hands, directed by Sirus Alvand, offer a significant glimpse into the characters’ personalities, social status, and the film’s underlying themes. Released in 1999, this Iranian political drama delves into complex moral and ethical questions, and the attire of its characters helps reflect their inner struggles and the societal contexts they navigate.

In many ways, the clothing choices in Corrupted Hands are understated, reflecting the sober, serious nature of the narrative. The characters, particularly the central ones, are seen wearing simple, practical, and often dark-colored clothes. This minimalistic approach to fashion can be interpreted as a way to emphasize the weight of the decisions they face and the moral dilemmas they confront. For example, the main character, played by Abolfazl Pourarab, often wears muted tones, symbolizing his internal conflict and the harsh realities of the political world he is part of. The simplicity of his clothing contrasts with the complex nature of the choices he must make.

On the other hand, the costumes of secondary characters often help differentiate their roles in the story. Those who represent power, authority, or the state may wear more formal, slightly more elaborate outfits, subtly showcasing the disparity between the common people and those in positions of influence. These differences are not just about aesthetics but are tied to the themes of inequality, corruption, and the often cold, impersonal nature of politics.

The choice of clothing in Corrupted Hands also serves to highlight the tension between personal identity and social roles. In the film, as characters struggle with their actions and the consequences of their decisions, their clothes act as a visual reminder of the roles they are playing in a larger, sometimes oppressive system. Whether it’s a politician, a soldier, or an ordinary citizen, their clothes reflect not just their profession but also their moral position within the narrative.

In conclusion, the fashion and clothing in Corrupted Hands are more than just a backdrop; they are a critical part of the storytelling. The simple yet intentional use of clothing helps convey the psychological and emotional states of the characters while also reinforcing the themes of power, responsibility, and moral ambiguity. Through its portrayal of fashion, the film provides viewers with a deeper understanding of the characters and the world they inhabit.

Categories: Film
Hooria Ahmadi: