Middle Eastern

The movie focuses on one of the events in

Shirin (Tannaz Tabatabayi) has two unsuccessful experience in marriage. In her third engagement, she faces with a psychological crisis and tries to get rid of it by reminding her dark days in childhood. When she had been harassed and humiliated by a man who was her mother's ...

The film progresses alonge two distinct but interwoven series of events. The first series involves young members of a family who have gathered round their old mother and revive their common childhood memories. the second line focusses on the old woman's preparations for her last journey and her joyous cooperation in arranging for the ceremonies that are to be observed after her death.

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Hamoon's wife is leaving him. He is also unsuccessfully trying to finish his Ph.D. thesis. He is forced to reexamine his life. In a series of flashbacks and dreams, Hamoon tries to figure out what he did wrong.

Story of a young lawyer in Tehran in search of a visa to leave the country, which is what Mohammad Rasoulof did during the winter of 2010/11.

The wife of Nasim, an Afghan immigrant in Iran, is gravely ill. He needs money to pay for her care, but his day labor digging wells does not pay enough. A friend connects Nasim to a two-bit promoter who sells tickets to watch Nasim ride a bicycle continuously for a week. The promoter brings in sick and aged spectators, haranguing them to find hope in Nasim's strength. Aided by his son, who feeds him as he rides, Nasim grinds out the days and shivering nights. Local officials believe this may be a plot and Nasim may be a spy; they try to sabotage him as do those who bet he won't finish the week. Will desperation alone get Nasim the money? Is any triumph an illusion?

As a young protagonist embarks on a humble quest, a beautiful allegory of friendship and morality is revealed. The first film in Kiarostami's Koker trilogy, Where is the Friend's Home? is a unique mélange of poetry, documentary and fiction, that cherishes the everyday in all its abundance.

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When a young girl becomes lost in the hustle and bustle of Tehran, her journey turns into a dazzling exercise on the nature of film itself. In this ingenious and daringly original feature, world renowned director Jafar Panahi (The White Balloon, Crimson gold) has wrapped a blunt political critique inside the layers of a deceptively simple film.

Fourteen-year-old Mehrollah's father is killed while a passenger on the motorcycle that Mehrollah is learning to ride. To support his family, Mehrollah takes a job in the city. Upon returning for a visit, he learns from his friend Latif that his mother has remarried to a policeman and moved to a larger house. This deeply angers Mehrollah, who refuses to accept his new step father; he also becomes bitter towards his mother. Taking up residence in the family's former home, Mehrollah kidnaps his young sisters, only to have his friend Latif betray their location. Latif acts as the go between for Mehrollah and his estranged family. When Mehrollah is injured, Latif summons his step father, who takes Mehrollah home to recover. As he gets better, he steals his stepfather's service revolver, and flees to the city with Latif. The step father heads to the city on motorcycle and arrests both of the boys. Placing Latif on a bus, he takes Mehrollah back home on his motorcycle, but on the way the motorcycle breaks down and they become stranded in the desert. Through the extreme hardship that follows, Mehrollah slowly softens, and comes to accept his stepfather.

The graphic account of a poverty-stricken family living in Tehran through the days before the youngest daughter of the family, Somaieh, is departing to start her marriage to a supposedly rich Afghan. While all members of the family have their worries about the wholeness of the marriage, she is struggling with her madly debilitating troubles including a silly mother who is gravely ill, a drug abusing brother, an obsessively compulsive sister, a considerably smart teenage brother who is being ruined in the environment, and a cunning oldest brother in need of money.

Amiro is a young boy who has lost his home during the war. He spends his days by working odd jobs, until he realizes that the only way that he can realize his dreams is by enrolling in school. In school, he has conflict with other students. Finally there is a competition to see who can say the whole alphabet in one breath.

When forced to divorce his wife by family and social pressure because her mother is a prostitute, Nazar (Khodaparast) works double shifts to pay back the loan he took out for his impulsive wedding and to pay some ongoing restitution to his sweet jilted bride, Reyhaneh (Kosari). When he falls behind in the payments he flees the police and ends up in the desert with an uncommunicative old man (Gharibian) who catches poisonous snakes for their venom. These two are forced to coexist in the desert, because Nazar is unwilling to return to the city and wants to catch snakes to make enough money to settle his debts. His verbose, chattering annoys the reticent old man until Nazar's life is endangered.

This is the story of 12-year-old Ali and his three friends. Together they work hard to survive and support their families, doing small jobs in a garage and committing petty crimes to make fast money. In a turn of events that seems miraculous, Ali is entrusted to find a hidden treasure underground. He recruits his gang, but first, to gain access to the tunnel, the children must enroll at the Sun School, a charitable institution that tries to educate street kids and child laborers, close to where the treasure is located.

When an ostrich-rancher focuses on replacing his daughter's hearing aid, which breaks right before crucial exams, everything changes for a struggling rural family in Iran. Karim motorbikes into a world alien to him - incredibly hectic Tehran, where sudden opportunities for independence, thrill and challenge him. But his honor and honesty, plus traditional authority over his inventive clan, are tested, as he stumbles among vast cultural and economic gaps between his village nestled in the desert, and a throbbing international metropolis.

For more than three decades, aging Iranian Mohamad Sardari (Zadour Bonyadi) has worked as a crossing guard at a desolate train station. Through the years, Mohamad has done little to stifle the loneliness and boredom inherent in the job. Meanwhile, back at his family home, life is similarly uneventful: Mohamad's wife passes the time sewing night and day, especially since the couple's son left to join the army. As time passes, Mohamad mechanically continues to do his duty.

In a hospital waiting room a woman learns her daughter, Solmaz Gholami, has just given birth. The ultrasound test had prepared the family for a boy. The baby, it turns out, is a girl. The joy the mother anticipated turns to terror for she knows her son-in-law's family will abandon her daughter. The old woman flees as the in-laws arrive. On the crowded streets of Tehran - a place where women are not permitted to stay out on their own or smoke in public - two women are also on the run. Arezou and Nargess have just been granted temporary leave from prison but they have no plans to return. They manage to scrounge together enough money for the bus trip to Nargess' hometown, but she lacks proper identification, and the police are searching everyone at the station. Meanwhile, their friend Pari has just escaped from prison in order to have an abortion. Threatened with death by her brothers, she flees from her father's house and meets with a former inmate, Elham, who is now married to a doctor and works in a hospital. Despite her connections, Elham is unable to help Pari in her hour of need. Despondent, Pari wanders the streets and chances upon Nayereh, a woman about to abandon her young daughter. Pari tries to stop her, but it is too late. Soon after, Nayareh, falsely accused of prostitution, is taken into custody by the police. As Panahi's narrative shifts dynamically from woman to woman, their stories culminate with tremendous potency, transforming a shared sense of despair and injustice into one kinship, and even hope.