2023 PALM SPRINGS INTERNATIONAL FILM FESTIVAL REVIEW!
Afghanistan is controlled by the Taliban–a terrorist group that not only terrorizes foreign nations, but the people that live within these Middle Eastern walls as well. Laili (Afsaneh Dehrouyeh) is one of the millions of women whose lives aren’t their own, that suffer under the regime of the Taliban. Yellow depicts Laili as she shops for her first full body veil–and she realizes that her life will never be the same.
Intensity is strewn throughout the course of Yellow, and for good reason. Any story that centers on the Taliban or one of the laws that they have developed typically comes with a somber intensity that transcends it. Yellow is no different–but we start off on a slightly different foot than what viewers might initially expect. Viewers are quickly provided some comedy and levity that, regardless of the rest of the story and the tonal transitions, manages to extend itself from beginning to end. That levity exists primarily at the start of the film–giving viewers something to hold onto–something almost tangible. This aspect of the film feels necessary–even though it may initially feel a skosh out of place at the start. Viewers are about to be thrown into something so incredibly intense, something far beyond the imagination of anyone that hasn’t experienced the tyrannical rule of the Taliban–and something light hearted allows things to remain even keeled enough as not to completely destroy our hearts.
Dehrouyeh is brilliant–and that’s a result of a couple of different things. She’s beautiful, and the reality is that viewers are likely to respond to her more positively as a result. On the surface it can easily be understood why she was chosen to lead Yellow. Just her appearance creates a stellar juxtaposition–and it also allows viewers more accessibility. Regardless of why the law was made that women in Afghanistan must wear a full body veil, the fact of the matter is that it exists–and seeing someone so attractive go through the process of keeping herself hidden makes this far more real to viewers that may not understand. We see beauty being hidden, and immediately Yellow makes sense. Writer-Director Elham Ehsas does a spectacular job of creating understanding, of developing something that is accessible to all–even if the concepts initially feel foreign.
Again, Dehrouyeh is brilliant–but that’s not just a result of her being attractive (that would be silly). The fact of the matter is that she is impeccably talented as well, and she commands each and every scene, ultimately stealing the show and making every second of the film even more powerful than the last. In the moments of intensity she shines brightly, strengthening Yellow as a whole. And at the start, when levity is the primary intent, she develops comedy in a way comparable to some of the best actors. She helps to develop the juxtapositional tones, she helps to create levity, and she’s ultimately the driving force behind why Yellow will find success.
On the surface Yellow may initially feel like dozens of other films, films that aim to enlighten the world on the many struggles of this culture–but it quickly separates itself from the others. Yellow is far more powerful, full of more energy, and it finds ways to invite viewers in from around the world and effectively tell this harrowing story. With every brilliant aspect of Yellow, Dehrouyeh remains the most important and most entertaining aspect of the film. She shines from beginning to end, and she’s the catalyst for all that transpires.
Written & Directed by Elham Ehsas.
Starring Afsaneh Dehrouyeh, Elham Ehsas, & Ahmad Jan Mano.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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