Ali is son of a well-off family who plays santoor (an Iranian instrument like dulcimer) and has earned some reputation through his concerts and teaching music but is rejected by his family ... See full summary »
A look at the lives of 3 well-off Iranian couples who are ostensibly living an idyllic life and are going to have a get-together for a birthday party. Each couple bearing their own sordid ... See full summary »
Shirin is supposed to get married in a couple of hours, but she unexpectedly murders a man. The cause of the crime, rooted in her nightmarish childhood, unravels gradually and the real question emerges: Who is the REAL criminal?
Maryam (Negar Javaherian) and Reza (Shahab Hosseini) are different from other people, it's not just a simple difference, but a very big difference. They must try to prove to others they ... See full summary »
Leila and Reza meet in a kind of celebration and fall for each other. Having discovered their love, they get married soon only to find out the infertility of Leila. That's when Reza's ... See full summary »
Although in the film festival where I watched it this film was billed as one about the environment (and its legendary director, who was present, endorsed this interpretation), this film is more about one man's attempt to grapple with the contradictions of modern Iran. The plot is straightforward: a press photographer, inspired by a book on feng shui, begins altering his life by clearing his home, and then his city, of clutter and garbage. In the process he is supported by his son and his son's tutor, but comes into conflict with his émigré wife, a mathematical genius. This film thus tells two inter-connected stories: one of a man's obsession with an issue (that of garbage), and the other of a marriage falling to pieces, partly because of this obsession, but partly also because of the divergent ambitions of the couple. Leila Hatami as the wife is very convincing, although her role is quite similar to the one she played in 2011 in Asghar Farhadi's acclaimed 'A Separation'. Individual actors' performances are good, and the musical score is wonderful, but there are moments when Hamed Behadad (the protagonist)essays his enthusiasm for his cause with energy that is too forced to be realistic. While telling these stories the director provides a commentary on the rapidly changing gender roles in his country, the issue of custody being a case in point. Although entertaining, with doses of humour, the two segments of the film don't dovetail very neatly into each other, as the second half is more family melodrama, and loses the focus of the first half. The resolution, too, is forced and lacks the enigmatic quality that characterizes the very best of Iranian cinema.
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