The Devil under the Windshield (1988)

"Şeytan Göz Qabağında," a 1987 film produced by Azerbaijanfilm during the Soviet era, is a compelling cinematic piece that delves into the complexities of human nature and societal norms. Directed by the renowned Azerbaijani filmmaker Rasim Ojagov, the film masterfully weaves a narrative that explores themes of morality, justice, and the struggle between good and evil. Set against the backdrop of a traditional Azerbaijani village, the story follows the life of a young man who becomes entangled in a web of deceit and corruption, challenging the viewer to reflect on the moral ambiguities that often define human existence. The film's protagonist, portrayed with intense emotional depth by actor Fakhraddin Manafov, embodies the internal conflict faced by many in a society rife with hypocrisy and hidden agendas. As he navigates through the treacherous social landscape, the audience is drawn into a world where the line between right and wrong blurs, and the consequences of one's actions are never straightforward. The cinematography, characterized by its stark contrasts and evocative imagery, enhances the film's atmosphere, making the village setting feel both claustrophobic and hauntingly beautiful. "Şeytan Göz Qabağında" also stands out for its bold critique of the societal structures prevalent in the Soviet Union at the time. Through its narrative, the film subtly questions the efficacy and morality of the bureaucratic systems that govern the lives of its characters. This critique is particularly poignant in the context of the late 1980s, a period marked by increasing unrest and calls for reform within the Soviet Union. The film's ability to address these issues while maintaining a gripping storyline is a testament to Ojagov's skill as a director and storyteller. In addition to its narrative and thematic strengths, "Şeytan Göz Qabağında" is notable for its cultural significance. As a product of Azerbaijanfilm, it represents a unique blend of Azerbaijani cultural elements and Soviet cinematic traditions. The use of traditional Azerbaijani music and the portrayal of local customs add layers of authenticity and richness to the film, making it not only a compelling drama but also a valuable cultural artifact. This film remains a powerful example of how cinema can serve as both a mirror and a critique of society, resonating with audiences long after its initial release.