City of Cats is a film written and directed by Seyed Javad Hashemi, currently being screened in theaters. Aimed at children and adolescents, the film departs from the usual clichés of children’s cinema to tell a fresh and original story.

It seems that Hashemi, in this new directorial venture, is seeking a new form. One of the first notable innovations is the use of visual effects, particularly the animated cat, who plays a key role in the story—an element that adds to the film’s charm.

The performances of all the actors are cohesive and serve the story well, with Amin Zendegani standing out for his role, as his performance challenges the audience’s preconceived image of him—a notable advantage. The presence of Maryam Saadat as “Sefid” and Farhad Ayish as “The Scientist” also helps engage adult viewers. However, the main weight of humor and witty dialogue rests on Amir Ghafarmanesh, who delivers it with remarkable charm.

The film’s weakness arguably lies in the screenplay: some of the characters’ verbal jokes and dialogues are better understood by adults, which may pose comprehension challenges for younger viewers. Additionally, in the second half of the film, the story’s lack of narrative progression and repetition of events—especially for viewers familiar with the first installment (City of Cats 1)—may feel tiresome. However, the editor’s skillful work has delicately mitigated these issues, which, in my view, is the film’s most important and significant strength.

In City of Cats 2, the editing serves the story, maintaining a lively rhythm and playing a crucial role in making the narrative smoother. It aligns the tempo and pacing with the film’s form while avoiding overloading the audience visually or aurally. Manouchehr San’ei, the editor of City of Cats—who also edited the first installment (City of Cats 1)—undoubtedly stands out as one of the film’s key strengths. San’ei is a young editor who currently also works on the TV series Tankkhourha, directed by Parviz Sheikh Tadi.

Ultimately, City of Cats, despite the scarcity and limitations of children’s cinema today, stands as an important film in the current landscape of Iranian cinema.

—Reza Pourzar’i