Hall 4 is one of the independent, under-the-radar, yet thought-provoking works by young filmmaker Hossein Torkjoush. Screened at the Fajr Film Festival, the film received a positive response from critics. Rather than relying on an event-driven narrative, it focuses on atmosphere, psychological suspense, and the audience’s gradual confrontation with an enclosed and increasingly tense situation.
According to the director himself, Hall 4 represents a modern interpretation of Masoud Kimiai’s cinematic style. At the same time, it should not be overlooked that the film firmly belongs to the tradition of social realist street cinema. For many viewers, the term “street genre” may sound unfamiliar, but it refers to a distinctive form of filmmaking that emerged in the late 1960s as part of the Iranian New Wave. This movement developed a new kind of crime thriller that engaged more consciously and profoundly with the social problems of Iranian society. Often referred to as the “street film,” these works typically revolved around stories of revenge and personal conflict with broader social and political implications. They were created to challenge authority and criticize the status quo. The prototype of this genre is widely considered to be Masoud Kimiai’s Qeysar.
Hall 4 contains strong traces of this tradition. One of its defining characteristics is a protagonist driven by revenge, yet ultimately motivated by a profound desire for justice. In this genre, justice—not vengeance itself—is the true driving force. As a first-time feature director, Hossein Torkjoush demonstrates an impressive understanding of the genre’s conventions and delivers a polished, disciplined, and remarkably assured debut.
More than being about an external event, Hall 4 is about people trapped in circumstances from which there is no obvious escape. The film possesses an almost theatrical atmosphere, as though its characters have been placed upon a stage where they have no choice but to reveal their true selves and make difficult decisions at the most critical moments of their lives.
Torkjoush deliberately distances himself from the traditional linear narrative, revealing information only in carefully measured fragments. It is the audience that must gradually assemble the puzzle of the characters’ relationships and shared past. Silence, pauses, and lingering glances play a crucial role in advancing the story. The dialogue is concise yet layered, with nearly every line carrying meanings beyond its literal words. The film’s approach allows viewers to arrive at their own judgments rather than having conclusions imposed upon them.
Following the success of Hall 4, Torkjoush is now preparing his next feature film, titled Effat.
