IMDb > The Circle (2000)

The Circle (2000) More at IMDbPro »Dayereh (original title)

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Overview

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7.4/10   3,776 votes »
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Down 13% in popularity this week. See why on IMDbPro.
Director:
Writers:
Kambuzia Partovi (written by)
Jafar Panahi (idea)
Contact:
View company contact information for The Circle on IMDbPro.
Release Date:
8 September 2000 (Italy) See more »
Genre:
Plot:
Various women struggle to function in the oppressively sexist society of contemporary Iran. Full summary » | Add synopsis »
Plot Keywords:
Awards:
13 wins & 4 nominations See more »
User Reviews:
Great artistry and even greater power See more (26 total) »

Cast

  (in credits order) (verified as complete)
Nargess Mamizadeh ... Nargess
Maryiam Palvin Almani ... Arezou (as Maryam Parvin Almani)
Mojgan Faramarzi ... Mojgan - Prostitute
Elham Saboktakin ... Elham - Nurse
Monir Arab ... Monir - Ticket Seller
Maedeh Tahmasebi ... Maedeh (as Maedeh Tahmasbi)
Maryam Shayegan ... Parveneh
Khadijeh Moradi
Negar Ghadyani
Solmaz Panahi ... Solmaz
Fereshteh Sadre Orafaiy ... Pari (as Fereshteh Sadr Orafai)
Fatemeh Naghavi ... Nayer
Ataollah Moghadas ... Haji
Abbas Alizadeh ... Father of Pari
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Directed by
Jafar Panahi 
 
Writing credits
Kambuzia Partovi (written by)

Jafar Panahi (idea)

Produced by
Mohammad Atebbai .... associate producer
Morteza Motavali .... executive producer
Jafar Panahi .... producer
 
Cinematography by
Bahram Badakshani  (as Bahram Badakhshani)
 
Film Editing by
Jafar Panahi 
 
Production Design by
Vajid Allah Fariborzi  (as Vajihollah Fariborzi)
 
Art Direction by
Iraj Raminfar 
 
Makeup Department
Hemasseh Malaki .... make-up
 
Production Management
Abolfazl Laleh .... production manager
 
Second Unit Director or Assistant Director
Ali Aghababai .... assistant director
Fereshteh Sadre Orafaiy .... assistant director (as Fereshteh Sadr Orafai)
 
Sound Department
Ahmad Ardalan .... sound
Sassan Bagherpour .... sound
Mehdi Dejbodi .... re-recording mixer
 
Camera and Electrical Department
Ghogha Bayat .... still photographer
Amir Karimi .... assistant camera
Mehrdad Lashkari .... assistant camera
 
Editorial Department
Gérard Estival .... color timer (uncredited)
 
Other crew
Ahmad Moradi .... production assistant
Mehdi Samakar .... title
 
Crew believed to be complete


Production CompaniesDistributors
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Additional Details

Also Known As:
"Dayereh" - Iran (original title)
See more »
Runtime:
90 min
Country:
Language:
Color:
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:

Did You Know?

Movie Connections:
References La Ronde (1950)See more »

FAQ

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8 out of 9 people found the following review useful.
Great artistry and even greater power, 2 September 2001
Author: mlstein from Rochester, New York

The "circle" in Jafar Panahi's great film is many things: the

structure of the film itself, which ends with the same image it

begins with; a location in Teheran, where a character meets a

friend in a movie theater; the circular stairs so many other

characters run up and down; the circling, hovering camera

movements that bring us face to face with the women in these

interlinked stories and the world they are caught in. Most of all,

perhaps, it is the constricting circle within which Iranian women

must live their lives, the tightly circumscribed rules and

expectations of a rigidly masculine universe. None of Panahi's

characters can escape this circle, though some try and one, at

least, believes that she can. The more experienced know the truth;

all they can do in running is map out the circumference of their

shrunken world.

It's easy to see The Circle as a film about the oppression of

women in Iran, but that would reduce it to the merely political--and

we should not forget that the film was made by an Iranian man,

and that three quarters of the Iranian electorate recently voted to

reelect President Khatami, a deeply intelligent voice for freedom

and dialogue who has had his own difficulties being heard.

Panahi's subject is far larger; a woman who grew up in an abusive

household told me that no other film had so accurately depicted

the experience of her youth, when the constraints on women's

lives were so much taken for granted that she was unaware there

was anything outside them. But those constraints are fatal. We

make our world together, through dialogue and interaction. To

deprive someone of voice and the chance to participate in that

process is to kill them, whether it is done through religious and

social sanctions or by a husband beating his wife. Panahi's

women are neither dead nor silent, even though their only

listeners are other women. Their tragedy finds echoes everywhere;

but in this film where theme and expression are so intimately

joined we, at least, can hear them.

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