An elderly couple go about their routine of cleaning their gabbeh (a intricately-designed rug), while bickering gently with each other. Magically, a young woman appears, helping the two ... See full summary »
Tomorrow is an important day for Amir. He had participated in an international architecture competition to win the competition with foreign companies. His wife ,Tahereh (Hengameh Ghaziani),... See full summary »
Seyyed Reza Mir-Karimi
On the last Wednesday before the spring solstice ushers in the Persian New Year, people set off fireworks following an ancient Zoroastrian tradition. Rouhi, spending her first day at a new job, finds herself in the midst of a different kind of fireworks -- a domestic dispute between her new boss and his wife.
An elderly owner of a tomato farm and sauce factory, after his wife's death, falls in love with one of the workers of the factory endangering his relationship with his daughters and in-laws... See full summary »
The story of a single mother who suffers from double vision; caring for her baby is a nerve-wrecking task that eventually leads her to a nervous breakdown. She is suspected of being a child... See full summary »
I caught this film at the Toronto International Film Festival and was frankly somewhat disappointed. The film is well acted and crafted, but both the story and the cinematography, with its washed out, almost black-and-white, color palette, made me uncomfortable most of the way through the film. The story centers on the relationship between a heroin-addicted daughter and her mother. The part of the daughter is played movingly by director Rakhshan Bani-Etemad's real life daughter. The mother character suffers and ultimately facilitates the daughter's addiction, while the daughter endlessly cycles between giving lip service to wanting to clean up, and then getting high "one last time." Good intentions, drugs, and self destruction have been treated more effectively in many other films over the past several decades, for instance Midnight Cowboy. Perhaps because of that, the story here doesn't seem fresh. My hat is off to Rakhshan Bani-Etemad though. It must have taken incredible perseverance to succeed as a woman filmmaker in Iran, and to produce a film dealing with what must be a suppressed subject there. Mainline (several Iranians in the audience insisted that the Persian title is much more effective) is definitely worth seeing if only for an insider's gaze at modern Iran, but expect to be uncomfortable.
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