Persian (Farsi)

The Color of Paradise

Majid Majidi, whose delightful Children of Heaven became the first Iranian film ever nominated for an Oscar, returns to the subject of children for this lush and lovely--if contrived--melodrama. A spirited blind boy with a passion for learning and life arrives home for a three-month break. He's loved by his giggly little sisters and adored by his gentle granny, but his widowed, self-pitying father sees him as a burden and is determined to foist him off on someone else before he remarries--specifically, a kindly blind carpenter who welcomes the boy with all his heart. Majidi is at his best exploring the texture of the boy's world--little hands feeling their way through a garden, the sounds of metal pencils punching out Braille pages, the shuffle of fingers on paper--and his imagery is delicate and lush. The story descends into scripted tragedy and a contrived, action-packed climax (unusual for a cinema known for its restraint), and the emotional tenor turns sentimental and cloying, but Majidi turns it all around with an astounding, heartbreakingly powerful final image. If there is one thing many Iranian films have in common, it's an unerring sense of how to end a film. This is one of the most affecting ever: beautiful, moving, simple, a glowing moment that crystallizes the entire movie. --Sean Axmaker

Kandahar

The prolific Iranian director Mohsen Makhmalbaf (Gabbeh) had one of his most visible international successes with this haunting, open-ended drama. Set (and shot) during the Taliban era, it follows an Afghani-Canadian woman as she attempts to enter Afghanistan in search of a despondent sister. Since it is illegal for a woman to travel alone, she must rely on the kindness--or curiosity--of strangers, including a scrappy boy and a mysterious American doctor. The woman playing the lead role had earlier contacted Makhmalbaf about a similar real-life search, which prompted him to write the screenplay. The director doesn't really tell her story so much as he unveils a way of life: in the desert, we meet land-mine victims, Red Cross volunteers caught in a Catch-22 world, and women smothered in head-to-foot burkas. The portrait is one of oppression, but also of people furiously trying to get by. --Robert Horton

Baran

Winner for Best Film at the Montreal Film Festival, this wonderfully romantic and uplifting story is from the acclaimed director of the Academy Award(R) nominee CHILDREN OF HEAVEN (Best Foreign Language Film, 1999). In a Tehran building site, a 17-year-old Iranian named Lateef is known more for his playful antics than his hard work. Then things take an unexpected turn when an Afghan coworker falls from the building and the worker's son, Rahmat, enters the scene to become the new provider for his family. But even as Lateef finds himself irresistibly drawn to Rahmat, it's not until the revelation of Rahmat's secret (that he is actually a young woman, posing as a man) that both of their lives are forever changed! A humorous and moving love story of the most romantic kind -- critics everywhere have declared this delightfully entertaining motion picture as one not to be missed!

Offside

This internationally award-winning film casually and sometimes caustically uncovers what binds us and blinds us to the differences between our ways of life in the West with modern day Iran. Fascinating funny and tragic it s a gem of comic action that explores the ambiguity between the sexes" (The Hollywood Reporter). The Tehran soccer stadium roars with 100000 cheering men and only men. According to Islamic custom women are not allowed and the ambitious girls who manage to sneak in are caught and sent to a holding pen guarded by male soldiers their own age. Duty makes the young men and women adversaries but duty can t overcome their shared dreams their mutual attraction and ultimately their overriding sense of national pride and humanity.System Requirements:Running Time: 92 Mins.Format: DVD MOVIE Genre: FOREIGN/LATIN Rating: PG UPC: 043396170971 Manufacturer No: 17097

Lighter in tone but still a companion piece to his devastating 2000 film The Circle, the superb Offside finds director Jafar Panahi continuing his exploration of the difficulties of a woman's place in contemporary Iran. The ingenious concept of Offside puts most of the action at a large soccer stadium in Tehran, where a group of young women--banned from the game on the sole basis of their sex--have been captured by stadium guards after sneaking inside. Not only are they in a kind of holding pen awaiting arrest, the girls can't even glimpse the World Cup qualifying match between Iran and Bahrain, although they can hear the sounds of the crowd. (They've made themselves up to look like boys, thus risking serious consequences for the sake of their fandom, but the no-women-allowed rule is in place to "protect" them from the rough habits of men.) Panahi actually withholds the game itself, focusing on the interactions between the girls and their guards--a group of disaffected guys who would rather be watching the game themselves. At every turn Panahi illuminates some subtle point about the limits put on women, yet the film is full of humor. The viewer is left not with a political tract but with rich human comedy, and with the idea that the spectacle of a white ball pushed across a green field might bring people together in a way that transcends sex, class, or the oppressive rules of a regime. --Robert Horton

The Willow Tree

Blind since childhood, Youssef has a devoted wife, loving daughter, and successful university career, but his affliction fills him with secret torment. As if in answer to his prayers, a clinic restores his sight - a miracle that is double-edged. Although this new world of sight and color floods him with ecstasy - the breathtaking images seen through his reawakened eyes include a dazzling vista of snow-blanketed hills, a shower of molten gold sparks in a jewelry foundry, an array of lollipop lights behind a rain-speckled car window - it also plunges him into a labyrinth of confusions and temptations. A pretty student begins to eclipse his previously invisible wife; he silently watches a subway pickpocket, who fixes him with a look of withering complicity. Eager to claim the lost life he feels he is owed but unable to take the next step, Youssef is inflamed with possibility and paralyzed with egoism.

A resonant metaphor for life s second chances and a powerful parable of sight and insight, The Willow Tree s vivid imagery and emotional immediacy makes this Majid Majidi s most mature and ambitious film to date.

Special Features:
- Optional English Subtitles
- Scene Selections

Taste of Cherry - Criterion Collection

Iranian director Abbas Kiarostami won the Palme d'Or at the 1997 Cannes Film Festival for this contemplative film about a Muslim, Mr. Badi (Homayon Ershadi), who drives around the barren hills outside Tehran, flagging down passersby and offering good money for a simple job that he's hesitant to explain. He's planning his suicide and seeks someone to perform something of a symbolic eulogy. Most of his subjects refuse (personal morality aside, suicide is forbidden to Muslims), but he finds an elderly taxidermist (Abdolrahman Bagheri) who agrees only because he needs the money for an ill child. Yet the old man gently pleads with him to choose life, to embrace the joys of earthly existence, to remember the taste of cherries. Though initially greeted with critical acclaim, A Taste of Cherry received poor distribution in the U.S. The meandering, deliberately paced drama is composed of long conversations and long silences, and the camera is locked in the car for entire sequences, staring at the protagonists in still closeups with the dusty landscape rolling past the windows of the Land Rover in the background. Kiarostami's film is not for everyone, but if you can embrace the quiet power and grace of his deceptively simple style, the film becomes a remarkably rich celebration of human dignity and resilience. By the astonishing conclusion we can see past Badi's age-etched face to the soul peering out from behind his sad eyes. --Sean Axmaker

Winner of the Palme d'Or at the 1997 Cannes Film Festival, Iranian auteur Abbas Kiarostami's Taste of Cherry is an emotionally complex meditation on life and death. Middle-aged Mr. Badii (Homayoun Ershadi) drives through the hilly outskirts of Tehran-searching for someone to rescue or bury him. Criterion is proud to present the DVD premiere of Taste of Cherry in a beautiful widescreen transfer.

Leila

American audiences used to the fable-like Iranian films of Abbas Kairostami (A Taste of Cherry) and Jafar Panahi (The White Balloon) may be startled by Dariush Mehrjui's devastating modern melodrama, Leila. Set firmly in the urban world of contemporary Tehran, this story of a couple pressured by family and tradition into destroying their happy union is a window into a world uneasily straddling the past and present. Happily married but childless, Leila and Reza are pressured by Reza's mother to keep the family name alive. When Reza refuses to take a second wife (polygamy is still legal in Iran) the mother-in-law goes to work on Leila, beating down her resistance with a mix of pleading, haranguing, and outright lies, until the couple limply gives in.

Mehrjui's subdued, subtle approach rolls with the gentle rhythms of a slow-paced society like many of his contemporaries, but underneath the surface calm is a churning sea of emotions: betrayal, abandonment, guilt, and grief. While the story can stand as a metaphor for the power of tradition in a modern world, Mehrjui's heart is with Leila's desperation and sorrow while she flails for support, even while helping choose her husband's bride. Dariush Mehrjui has been described as the godfather of Iranian cinema, and has repeatedly clashed with Iranian censors while pushing the envelope of social issues. This understated but vivid tragedy is witness to his place in cinematic history. --Sean Axmaker

Reza and Leila, an attractive and affluent young couple deeply in love and recently married, discover that Leila is unable to conceive. Although Reza steadfastly insists that it matters not in the least, his mother feels otherwise: she is determined that her son have children and continue the family line. Invoking tradition, she convinces her daughter-in-law that Reza must, out of necessity, take a second wife to produce an heir. The heartbreak that follows is so eloquently recorded that the final outcome is "in a word, devastating." (The New York Times)

This provocative, eloquent and ultimately devastating story, from "Iran's longest-running cinematic master" (Village Voice), is a stunning portrayal of the clash between tradition and modern marriage; between manipulation and the power of love.

Close-Up

Ten

World-renowned Iranian writer-director Abbas Kiarostami (TASTE OF CHERRY, THROUGH THE OLIVE TREES) has created a deceptively simple work—shot on digital video within the confines of a single vehicle—that brings the intricate nature of Iran's sexual and social politics into sharp focus. Seen through the eyes of a beautiful, chador-clad divorcée, the film catches her impromptu conversations with various female passengers (and her imperious young son) as she navigates Tehran's congested and vibrant streets over the course of several days. As Kiarostami's "dashboard cam" eavesdrops on these extraordinary and moving stories of sex, divorce, love and religion, an entirely original and fascinating portrait of modern Iran emerges. Also features the "master class" making-of documentary 10 ON TEN.

Gabbeh

"Dazzling! The bold, almost psychedelically vivid images are woven together with a dreamlike density as pure as that of The Blood of a Poet or Natural Born Killers." —Owen Gleiberman, Entertainment Weekly

One of the most critically acclaimed films of the year, Gabbeh is an epic tale of the forbidden passion that shapes the legend of a magical carpet.

A folkloric carpet (Gabbeh), picturing a man and a woman riding away on horseback, is the prized possession of a nomadic elderly couple. When they sit to wash it on the bank of a creek, a beautiful young woman suddenly emerges from the carpet to join them. Once held hostage by the endless restraints of the family that fashioned the carpet, she reveals the secret of the carpet lies within the mysterious black-clad rider on the white horse. Month after month, season after season, he had followed her family from afar, always present, always waiting, howling to her songs of love - longing for her to run away with him.

Director Mohsen Makhmalbaf's masterpiece is a brilliantly colorful, profoundly romantic ode to beauty, nature, love and art.