Lefebvre's "environmental" rhythm mining mechanism in cinematic expression based on a look at two movies «The Still Life» & «The Wind Will Carry Us»

The Eco cinema does not have a long life in the field of environmental criticism studies. In the same lifetime, there have been few sources, each of which has tried to come up with a definition, But in conclusion, it can be concluded that almost any film from wildlife documentaries to poetic fiction films that have used the ecosystem in their narrative expression can fit into this field. Iranian cinema is no exception to this definition. Therefore, in order to achieve a tangible analysis in this field, Henry Lefebvrechr('39')s views in the field of two rhythms of enviromental life have been expressed and then we have tried to find a connection between these two rhythms with aesthetic elements in a cinematic work to analyze cinematic works related to Provide the ecosystem. The present article refers to Henry Lefebvrechr('39')s theories about  everyday life and its relation to environmental conditions, which is based on the method of library information collection, qualitative method and descriptive-analytical nature, to answer the question that How does Sohrab Shahid Sales in the film »the Still Life«  and Abbas Kiarostamichr('39')s film film "The Wind Will Carry Us" create meaning from the contrast between the two rhythms desired by Lefebvre and highlight the environmental symbolic implications in this regard? It seems that in » TheStill Life « the ecological rhythm has become a kind of aesthetic rhythm, and in »The Wind Will Carry UsK, »ecosystem« has been found as a metaphor for the evolution of functional character. The result is that both films have proven the hypotheses and put the rhythm and socio-cultural way of life as a way to achieve an aesthetic look.