At the Intersection of Cinema and Architecture: An Exploration of How Architectural Space Design Transforms into a Subject of Resistance in the Film 'Leyla's Brothers'

Abstract

The use of space holds a distinctive place in cinematic narrative, as spaces created primarily in adherence to the story are also intertwined with the ideological stance within the narrative. Transforming a place into a space is possible through communication established with that place, and a location initially planned as four walls becomes a space through interaction with individuals. In cinema, space is a distinctive area where the story unfolds, and the narrative is directly shared with the audience. Thus, the ideological nature of space within the context of the story also finds its place in the cinematic narrative. The relationship between cinema and space signifies the combination of visual and spatial elements in the art of cinema, conveying a specific atmosphere, emotion, or meaning on the aesthetic plane to the audience. This relationship involves the ability of filmmakers, producers, and cinematographers to offer a certain experience to the audience by selecting specific locations, while also reflecting the director's subjective perspective in the film, taking the audience on a journey. Architectural design of spaces not only advance the flow of the story and lead the character development but also manage conflict areas. A specific location can alter the dynamics of relationships between characters. The film "Leyla's Brothers" (2022), directed by the Iranian filmmaker Saeed Roustaee, serves as a symbolic example of the strong structure of cinema by attempting to convey inter-sibling conflicts to the audience in ideological, cultural, and societal terms. It also emphasizes the significant role of architecturally designed cinematic spaces in conveying these nuances. In this context, the study attempts to discuss the film "Leyla's Brothers" within the framework of Henri Lefebvre's spatial theory, providing a comprehensive perspective that goes beyond the physical environment to understand social relationships, power dynamics, and cultural structures. Lefebvre regards space not only as a physical area but also as a social, cultural, and political phenomenon. His space theory argues for the understanding of space in conjunction with social relations. The analysis aims to explore the film within the power of cinema to reflect social dynamics and cultural elements, considering the societal dynamics of Iran.