When the projector keeps running

A film within a film

Noushazar’s essay describes Cinema’s Blood as Rabihavi’s short response to the killing of Dariush Mehrjui and Vahideh Mohammadifar. His reading concentrates on the presence of Bergman’s Persona within the film, treating the encounter as a reflection on identity and violence rather than only a reconstruction of news. Source 1

He compares the merging identities in Persona with the destructive invasion of the victims’ lives. Silence becomes a second point of comparison: a chosen withdrawal in his account of Bergman’s film, and an irreversible absence in his interpretation of Rabihavi’s response. Source 1

Listening to what remains outside the image

The essay pays particular attention to the continuing projector sound, suspenseful music and sounds of the victims. Noushazar interprets the indifferent machinery as part of the film’s ethical unease. His account locates much of its force in what the audience hears without being shown completely. Source 1

The article calls the work a 100-second film. That description remains attributed to this critical source; it supplies neither an independently checked release history nor a complete production sheet. The English article and Medium mirror are appearances of the same essay, not two separate reviews. Source 1

Sources & credits

1. Hossein Noushazar · Persona of Death

   Zamaneh Media English, 23 September 2025. Critical essay on Cinema’s Blood, with a separate Medium republication. The article’s account of the film is not an independently verified production credit sheet.