The confrontation between the two sides of death and native identity from the perspective of Martin Heidegger

Death in any cultural realm will not be interpreted as a purely biological event. What, the cultural world around man is always mixed with a constructed meaning system, which, in addition to the choices of people, is a transcendent source of meaning through which every event, natural or human, will be interpreted and interpreted. in the new world. The bed of the new world is made up of cities where death has become a marginal matter with the least image for humans. The era of the Corona epidemic once again brought death to the table of human time, but before that, it was art that tried to revive the cultural view of death for humans in any society by creating images. Finding the meaning of death, the manner of dying and its rites, in the modern world, has distanced itself from the neighborhood, family and city and defined itself in the frame of cinema and television.It is natural that "death" as an inevitable and certain matter has an important position in the semantic system and cultural realm of a society. What, the human species as a creative and self-aware being will gain an identity for itself in this realm of meaning and will define its "life and death" in it. Therefore, death will be closely related to the land in which the inhabitants live. A relationship that, if broken or caused any kind of disturbance in it, will be the source of many existential crises. In these lines, an attempt will be made to analyze the two films "From Karkheh to Rhine" by Ebrahim Hatamikia and "A Little Kiss" by Bahman Farman Ara, according to Martin Heidegger's theory about "Death", "Boom" and "Identity". Let's examine the above three issues.