A married couple are faced with a difficult decision - to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease.
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.
While both participating in a production of "Death of a Salesman," a teacher's wife is assaulted in her new home, which leaves him determined to find the perpetrator over his wife's traumatized objections.
An Iranian man deserts his French wife and her two children to return to his homeland. Meanwhile, his wife starts up a new relationship, a reality her husband confronts upon his wife's request for a divorce.
Somaieh, the youngest daughter of an indigent family, is getting married and fear is overwhelming each and every member of the family regarding how to overcome their difficulties after she's gone.
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.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Director:
Thomas Vinterberg
Stars:
Mads Mikkelsen,
Thomas Bo Larsen,
Annika Wedderkopp
This movie is about a strict girls high school whose faculties are all female. After the maternity leave of a chemistry teacher, the principal has to bent the rules for the presence of a male teacher in the girls high school.
In 1984 East Berlin, an agent of the secret police, conducting surveillance on a writer and his lover, finds himself becoming increasingly absorbed by their lives.
Director:
Florian Henckel von Donnersmarck
Stars:
Ulrich Mühe,
Martina Gedeck,
Sebastian Koch
Directed by multi-award winning filmmaker Asghar Farhadi, 'Beautiful City' is a cinematic gem not to be missed. Akbar has just turned eighteen. He has been held in a rehabilitation centre ... 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?
Nader (Payman Maadi) and Simin (Leila Hatami) argue about living abroad. Simin prefers to live abroad to provide better opportunities for their only daughter, Termeh. However, Nader refuses to go because he thinks he must stay in Iran and take care of his father (Ali-Asghar Shahbazi), who suffers from Alzheimers. However, Simin is determined to get a divorce and leave the country with her daughter.Written by
Amin Davoodi
Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »
Goofs
Although Razieh had gone to the doctor to see if her baby is still alive a few hours before she was beaten by Nader, the judge never asked her about the result of medical check. Also after medical examination, it should be clear for Razieh to know about the situation of her baby unless she couldn't reach the doctor at the time. See more »
Quotes
Termeh:
If you knew she was pregnant, why did you hit her?
Nader:
Look, I did know she was pregnant, but in that moment I didn't, I had forgotten, This matter was not on my mind at all
Termeh:
Well... well go tell these exact things to them
[to the Interrogator]
Nader:
My dear, the Law doesn't understand such things, It says either you knew or you didn't... Look at me! if you want me to go and tell them I will do this right off
Termeh:
...
See more »
I'm an Iranian, but I've never been interested in Iranian cinema. I only watch Iranian films when they win awards or receive international recognition. I'm a fan of Kiarostami and Majidi, but I can't really say that I like all of their films. I watched Farhady's previous film (About Elly) about a year ago, and the first thing which struck me was how culturally detached the movie was in its depiction of an event. At the time, I believed this to have been the cause of this director's success. Watching Nader and Simin, however, proved that I was terribly mistaken.
Asghar Farhady's obsession with the concept of judgment is once again the driving force behind his latest feature. The life-like depiction of the Iranian courtroom (which is in no way impartial) places the audience in the Judge's seat from the very beginning. The extremely believable acting and insanely complex script compel the viewer to make up his/her mind just like when reading a court case. As for the screenplay, I'm almost certain the events in this film actually happened in real life, because in no way could one fabricate such a chaotically complex series of events, so beautifully woven into a coherent whole.
Despite being very Iranian in its narrative style and its depiction of Iranian culture (the sanctity of Family, faith, commitment towards parents and married life), I believe that this film could easily appeal to the Western audiences just like a film by Inaritu or Haneke (although I'm pretty sure it won't be nominated for an Oscar for political reasons).
After seeing About Elly, I thought Farhady's success was just a one-time fling, but coming out of the theater, having watched Nader and Simin, I was proud to have another Iranian director added to my international list of favorites.
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I'm an Iranian, but I've never been interested in Iranian cinema. I only watch Iranian films when they win awards or receive international recognition. I'm a fan of Kiarostami and Majidi, but I can't really say that I like all of their films. I watched Farhady's previous film (About Elly) about a year ago, and the first thing which struck me was how culturally detached the movie was in its depiction of an event. At the time, I believed this to have been the cause of this director's success. Watching Nader and Simin, however, proved that I was terribly mistaken.
Asghar Farhady's obsession with the concept of judgment is once again the driving force behind his latest feature. The life-like depiction of the Iranian courtroom (which is in no way impartial) places the audience in the Judge's seat from the very beginning. The extremely believable acting and insanely complex script compel the viewer to make up his/her mind just like when reading a court case. As for the screenplay, I'm almost certain the events in this film actually happened in real life, because in no way could one fabricate such a chaotically complex series of events, so beautifully woven into a coherent whole.
Despite being very Iranian in its narrative style and its depiction of Iranian culture (the sanctity of Family, faith, commitment towards parents and married life), I believe that this film could easily appeal to the Western audiences just like a film by Inaritu or Haneke (although I'm pretty sure it won't be nominated for an Oscar for political reasons).
After seeing About Elly, I thought Farhady's success was just a one-time fling, but coming out of the theater, having watched Nader and Simin, I was proud to have another Iranian director added to my international list of favorites.