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Darbareye Elly (2009)

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The mysterious disappearance of a kindergarten teacher during a picnic in the north of Iran is followed by a series of misadventures for her fellow travelers.


Asghar Farhadi


Asghar Farhadi (screenplay), Azad Jafarian (story) | 1 more credit »
16 wins & 13 nominations. See more awards »



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Cast overview:
Golshifteh Farahani ... Sepideh
Shahab Hosseini ... Ahmad
Taraneh Alidoosti ... Elly
Merila Zare'i ... Shohreh
Mani Haghighi ... Amir
Payman Maadi ... Peyman (as Peyman Moaadi)
Ra'na Azadivar Ra'na Azadivar ... Naazi
Ahmad Mehranfar Ahmad Mehranfar ... Manoochehr
Saber Abar ... Alireza (as Saber Abbar)


A group of middle-class friends travel from Tehran to spend the weekend at the seaside. Sepideh invites Elly, who is her daughter's teacher, to travel with the three families in order to introduce her to their recently divorced friend Ahmad, now living in Germany. The next morning, the two women go shopping in the town and Elly says that she has to return to Tehran because her mother has been recently submitted to hospital for heart surgery, but Sepideh asks her to stay and hides her luggage. The children are playing in the sea and one mother asks Elly to watch them. Out of the blue, Sepideh's daughter calls to some men playing volleyball to rescue one of the children from the water. After rescuing the little boy they seek out Elly, questioning whether she has drowned or returned to Tehran. What has happened to Elly? Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis


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Official Sites:



Iran | France


Persian | German

Release Date:

6 June 2009 (Iran) See more »

Also Known As:

About Elly See more »

Filming Locations:

Tonekabon, Mazandaran, Iran


Box Office

Opening Weekend:

IRR 700,000,000 (Iran), 6 June 2009, Limited Release

Opening Weekend USA:

$15,000, 12 April 2015, Limited Release

Gross USA:

$106,662, 10 May 2015
See more on IMDbPro »

Company Credits

Production Co:

Dreamlab See more »
Show more on IMDbPro »

Technical Specs


Sound Mix:




Aspect Ratio:

1.85 : 1
See full technical specs »

Did You Know?


Selected by Indiewire critics as one of the top 10 foreign language movies of 2015. See more »


When Sepideh is driving her car into the villa, the front right door of the car strongly hits the entrance gate. Later, when Ahmad is driving that car, the car door is intact. See more »


Ahmad: A bitter ending is better than an endless bitterness.
See more »


References The Good, the Bad and the Ugly (1966) See more »


Song For Eli
Written by Andrea Bauer
See more »

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User Reviews

a mystery of happenstance - and a matchless masterpiece at that
28 November 2010 | by Radu_ASee all my reviews

To say the most important thing first: 'All about Elly' requires unmitigated attention from the viewer. I actually watched it in the Berlin Festival last year, but didn't think too much of it as I was distracted. Since it won the Silver Bear and was voted by Iranian critics the best national film ever, I decided to give it another shot on DVD, and as it works sometimes, I realized that this film is not only a true gem, but one of those rare, timeless classics that may help to explain to posterity the reality of generations past.

What lulled me into a mistaken sense of boredom upon my first viewing was the unassuming start of the film. The simplicity of the plot - a group of young Tehrani couples going on a seaside weekend trip, with one of the wives trying to act as a matchmaker between a female colleague and an expat on vacation from Germany - is presented in such low-key fashion that if you don't know what's coming (and I didn't) it's hard to focus on the subtle hints of possible conflict. Also, while I've been to Iran and consider myself vaguely familiar with the complexities of life there, of course as a mere visitor you can catch but a fraction of what things mean, and since this is very much a jump into an unknown society, you really have to blank your mind to catch the drift of what the characters say.

Ironically, that's a stark contradiction to the usual Iranian festival fair: Kiarostami works a lot with metaphor (which he often endlessly repeats to drive the message home), Panahi with situation developments (which he exploits to the utmost degree to drive the message home), and therefore their works do not require much background info, though it sure helps. Farhadi's film asks for a bit more audience participation, as much of the conflict in the second half of the film stems from Iranian social reality, I would think. That is what, on my second viewing, convinces me of the timeless quality of this film: never before have I seen a director pull so much substance out of so little plot and setting.

Just because 'All about Elly' appears to be simple at first, it is actually really deep; once I suspected that every frame in this film means something and is not just there, I entered an alternate visual language, which then communicated the urgency of what Elly's disappearance meant to me. I felt that this film thereby manages to tell me emotionally what I could rationally never fully comprehend: what it means to actually live in a country like that. No other film from Iran has ever done that for me, and I've rarely seen a film from another culture that managed to do so. So I would assume that Farhadi has taken directing to another level here.

What's more: this isn't just a very artistic way to convey a message, it's also very entertaining. For once I was drawn into the characters, their sense of alarm and suspense kept me on the edge until the very end. There's a decent dose of Hitchcock in 'All about Elly' as unreal as that may sound. That's the real charm of this film: although it's demanding in terms of familiarity with the setting, it's international in its depiction of emotions anyone from anywhere can relate to.

In conclusion: Definitely not to be missed if you are just as much as remotely interested in Iran, or have a sweet tooth for excellent direction (though the French term 'mise-en-scène' hits the mark in this case). This is the kind of movie that should become part the curriculum of film students around the globe.

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