| Abbas Sayah | ... | Uncle | |
| Shaghayeh Djodat | ... | Gabbeh | |
| Hossein Moharami | ... | Old Man | |
| Rogheih Moharami | ... | Old Woman | |
| Parvaneh Ghalandari |
Directed by | |||
| Mohsen Makhmalbaf | |||
Writing credits(in alphabetical order) | ||
| Mohsen Makhmalbaf | ||
Produced by | |||
| Khalil Daroudchi | .... | producer | |
| Khalil Mahmoudi | .... | producer | |
| Mostafa Mirzakhani | .... | executive producer | |
| Reza Shirazi | .... | executive producer | |
Original Music by | |||
| Hossein Alizadeh | |||
Cinematography by | |||
| Mahmoud Kalari | |||
Film Editing by | |||
| Mohsen Makhmalbaf | |||
Casting by | |||
| Mostafa Mirzakhani | |||
Production Management | |||
| Mohamad Ahmadi | .... | production manager | |
| Hamid Mana Gahri | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Abolfazi Alegheband | .... | assistant director | |
| Behram Azimpour | .... | assistant director | |
Sound Department | |||
| Mojtaba Mirtahmasb | .... | sound | |
| Abbas Rastegarpour | .... | sound mixer | |
| Behroz Shahamat | .... | sound mixer | |
Camera and Electrical Department | |||
| Mohamad Ahmadi | .... | set photographer | |
| S. Asadi | .... | camera operator | |
| B. Dorani | .... | camera operator | |
Other crew | |||
| Berouiz Rahmen | .... | location manager | |
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| The Kite Runner | My Father's Glory | Daughters of the Sun | Love in the Time of Cholera | Big Fish |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb Iran section |
This visually stunning film tells the story of an old couple's gabbeh-a finely crafted Persian carpet. One day when they go to a nearby spring to wash the carpet, an attractive young woman appears suddenly and mysteriously-she is the apotheosis of the people whose tale is told in the carpet's woof and warp.
The film is a surrealistic folk tale. As she helps the old woman wash the carpet, the young woman (the spirit of the carpet) begins the tale of her life, which becomes the film's story. The film's charm lies in the magical use of color and water to tell a story. Young girls are everywhere in native dresses that complement the picturesque scenery with as many dabs of color as a French impressionist painting. The filmmaker here is an artist, adept at sunsets, drifting cotton-white clouds on a pristine blue canvas. Pastels, ultramarines, burnt siennas, ochres-there is a sensuous joy in the very colors of the earth and sky.
The world of the film is a kaleidoscope of color. Exotic birds appear from nowhere like bursts of sunset. Young women dress in native Iranian costumes of reds, golds, blues, and greens. And through it all, the sounds of flowing water, like little bells or delicate wind chimes, is given a palpable presence.
The Persian carpet, no longer mute, beguiles the viewer with its simple, haunting tale of people and places at once so ancient and new. The wolf-like howls of a young woman's lover merge with the sound of the water as it rills and flows over stones, pebbles, and sand. The water is itself a comment on the people whose lives are lived within its boundaries. The magical and surrealistic elements of the peasant girl's story weave themselves into a fairy-tale. What enchantment there is in a young woman's quest for love and continuity. The very air is rich with the colors, sights, and sounds-the spices and incense of the Near East.