| Photos (see all 6 | slideshow) |
| Aida Mohammadkhani | ... | Razieh | |
| Mohsen Kafili | ... | Ali | |
| Fereshteh Sadre Orafaiy | ... | Mother | |
| Anna Borkowska | ... | Old Lady | |
| Mohammad Shahani | ... | Soldier | |
| Mohammed Bakhtiar | ... | Tailor | |
| Aliasghar Smadi | ... | Balloon Seller | |
| Hamidreza Tahery | ... | Reza | |
| Asghar Barzegar | ... | Pet Shop Manager | |
| Hasan Neamatolahi | ... | Snake Charmer | |
| Bosnali Bahary | ... | Snake Charmer | |
| Mohammadreza Baryar | ... | Client in Tailor's Shop | |
| Shaker Hayely | ... | Tailor's Assistant | |
| Homayoon Rokani | ... | Street Singer / Dancer | |
| Mohammad Farakani | ... | Shop Keeper | |
| Hosain Kazemy | ... | Shop Owner | |
| Mohammad Zolfaghary | ... | Pet Shop Assistant |
Directed by | |||
| Jafar Panahi | |||
Writing credits(in alphabetical order) | ||
| Abbas Kiarostami | writer | |
| Jafar Panahi | original idea | |
| Parviz Shahbazi | original idea | |
Produced by | |||
| Kurosh Mazkouri | .... | producer | |
| Foad Nour | .... | co-executive producer | |
Cinematography by | |||
| Farzad Jadat | |||
Film Editing by | |||
| Jafar Panahi | |||
Production Design by | |||
| Jafar Panahi | |||
Second Unit Director or Assistant Director | |||
| Behrouz Hamed Saberi | .... | assistant director | |
| Parviz Shahbazi | .... | assistant director | |
Sound Department | |||
| Said Ahmadi | .... | sound | |
| Mehdi Dejbodi | .... | sound | |
| Mojtaba Mortazavi | .... | sound | |
Special Effects by | |||
| Manocher Sabet-Ghdam | .... | special effects | |
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| Little Miss Sunshine | The Good Earth | The Loss of Sexual Innocence | Walkabout | The River |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb Iran section | Add this title to MyMovies |
In his directorial debut, Jafar Panahi - a devoted pupil of Iranian film-god Abbas Kiarostami - is able to encapsulate the stubbornness and curiosity of a seven-year-old Tehranian girl so authentically (by use of newcomer Aida Mohammadkhani) that we forget that we are watching fiction unfold.
The White Balloon has a continuous feel that is obtained by allowing the story to unravel in real time. An unseen radio informs us that the Iranian New Year is almost upon the town; a tradition for this annual event is to either catch or buy a fish (fish represent life). Razieh, the little girl, is unsatisfied with the selection of fish in the family's pond. She complains that the family's fish are too "skinny." Eventually, Razieh's brother, Ali (Mohsen Kalifi's only role thus far), cons their mother into letting Razieh have a 500 note (Iranian money) to buy the fish that she wants. On her way to the market, Razieh loses the money two times. It is the second loss that is the most serious - the money falls into the cellar of a closed shop through a sidewalk drain. The remainder of the film is devoted to the introduction of various strangers offering either to help retrieve the note or pass the time with light-humored conversation.
Beautiful cinematography (winner of the Camera d'or at Cannes in 1994), memorable characters, and stunning direction backed by Kiarostami's expertly written script make for a great film that was reminiscent of my viewing of John Sayles' Secret of Roan Inish. Like Sayles' film, there is a magical, absorbing quality to The White Balloon that spellbinds the viewer regardless of age.