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A poet and production designer who had made short documentaries, Aslani was just 32 when he launched his narrative feature debut with Chess of the Wind (it was shown at last years New York Film Festival as Chess Game of the Wind, a title that makes a bit more sense). Perhaps if hed been older and more established, the film would have received a more attentive and appreciative reception, but its lack of contemporary renown still surprises, because even measured against the Iranian and international cinematic treasures of the 70s, Aslanis vision is still breathtakingly distinctive, an incisively devastating social critique embedded in a complex tale of intrigue, greed, oppression, and murder. The film is also, and perhaps most strikingly, a stylistic tour de force.

The story is set in the early 1920s, the last years of the Qajar dynasty, which had ruled Iran since the 18th century and set new standards of decadence as its end approached. Aslanis film premiered three years before the end of the dynasty that succeeded the Qajars, the Pahlevis, and no doubt Iranian audiences would have understood that the earlier era was meant to implicate the decadence of the current monarchy. In fact, many Iranian films of the 1970s were rife with feelings of gloom, discontent, and dissidence; the shadow of a widely unpopular Shah seemed to loom over the most engaged and daring of his realms artists.

To conjure the Qajars world, the former production designer made the inspired decision to set the films story in a mansion which is almost a character itself, one of the films most important. Sand-colored, with high columns, doors, and windows decorated with bright stained glass, this archetypal Persian pile is not only where the drama occurs; its also, in a sense, what its aboutsince the family inside is in a state of rapid collapse, the house represents both an ungraspable vision of stability as well as the wealth that all crave.

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Chess of the Wind movie review (2021) - Roger Ebert