Rahmat has been asked to meet the inhabitants of these islands to collect their tears. Although for years people have been giving their tears to Rahmat, no one knows exactly what he has been doing with them.
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Title: The White Meadows (2009)
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4 wins & 4 nominations.
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Cast
| Credited cast: | |||
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Hassan Pourshirazi | ||
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|
Younes Ghazali | ||
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|
Mohammad Rabbani | ||
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|
Mohammad Shirvani | ||
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Omid Zare | ||
| Rest of cast listed alphabetically: | |||
| Mohammad Rabbanipour | |||
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Storyline
Once again, Rahmat is sent by his job to travel to different islands, something he has been doing for many years. They ask for him to collect the tears of the inhabitants of these islands. Although, these inhabitants have been giving their tears to Rahmat for many years, no one really knows what he is doing with them. Written by IMDb Editor
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Country:
IranLanguage:
PersianRelease Date:
23 April 2010 (USA) See more »Also Known As:
Biale laki See more »Filming Locations:
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This film like other Mohammad Rasoulof's film never been screened in Iran. See more »Contribute to This Page
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A salted symbolism seems to evaporate off the screen in Iranian filmmaker Mohammad Rasoulof's "The White Meadows". Rasoulof, who wrote, directed and produced "The White Meadows",is closely associated to the Iranian New Wave Movement of Cinema. The film was awarded the Krzysztof Kieslowski Award for Best Feature at the 2010 Denver Film Festival.
"The White Meadows" was edited by one of the Iranian New Wave's most prominent figures, Jafar Panahi. Along with "The White Meadows" cinematographer Ebrahim Ghafori, Rasoulof and Panahi were arrested by Iranian authorities on March 1, 2010. In this review of the film, there is just no way for me to tackle the complex web of issues surrounding Iran's oppression of its artists.
That said, as with several Iranian films, the suppressed freedom to express art and ideas in Iran hold an elemental place in "The White Meadows". Rasoulof's tale goes beyond the neo-realist qualities so often described in Iranian New Wave Cinema. The film is vividly real in its humanistic portrayals and natural landscapes, but under the folkloric lens of Rasoulof, Panahi and Ghafori it drifts into magic-realism.