Amir Ganjavie’s third film The Damned is a philosophical and surrealistic tour de force that takes the audience on a journey through the mind of its protagonist called Caesar, a covert government agent of an undisclosed country. Caesar, plagued by nightmarish visions and inner turmoil, embarks on a quest for solace and seeks therapy from a psychoanalyst assigned to him by a superior to treat him who may have a connection to him. It is a formidable challenge to its audience, as it blends reality and dreamlike sequences in a fragmented and non-linear manner, blurring the line between the two and inducing a sense of disorientation and confusion for the protagonist and the spectator alike.
Ganjavie masterfully employs the techniques of cinematography, including camera movement and mise-en-scene, along with low-key lighting to evoke a nightmarish atmosphere, accentuating the protagonist’s internal conflict and the tribulations he endures as a result of his tumultuous actions. The film’s visual style, immersive atmosphere, and powerful themes of fate, memory, identity, and the consequences of violence and organized crime, combine to create a visceral and impactful experience. The opening and closing heli-shots, serving as a metaphor for a God-like point of view, reinforce the idea of fatal destiny’s dominant role in the lives of the characters, underscoring their struggles as they spiral out of control, trying to come to terms with their actions and place in the world. The use of Greek mythology, specifically the symbol of Cerberus, the three-headed dog, adds another layer of symbolism, representing the protagonist’s past, present, and future.
Additionally, The Damned makes implicit references to the tragedy of the Ukraine International Airlines Flight that was shot down over Tehran in 2020, exploring its aftermath and the toll it took on the families of the 176 passengers who lost their lives. The film’s dream sequences portray the passengers’ afterlife as they struggle to regain their memories and reclaim their identities and relationships with their loved ones, providing an emotional depth to the film and highlighting the devastating consequences of acts of violence.
Indeed, the deliberate ambiguity surrounding some characters and their relationships may prove confounding for some spectators. The implementation of black and white sequences could have been enhanced with a higher level of technical precision, such as shooting in monochrome during principal photography rather than converting from a colour image in post-production. These considerations could further elevate the film’s already formidable impact and mastery of craft.
The Damned is a haunting exploration of loss, memory, and the impact of violence and power on the human psyche, thought-provoking and masterfully crafted, leaving a lasting impression on its viewers.