At the age of 40, Leila has spent her entire life caring for her parents and four brothers. A family that is constantly arguing and under pressure from various debts in the face of sanctions against Iran. While her brothers are struggling to make ends meet, Leila makes a plan.
Shakib is a homeless day laborer who never got over the loss of his wife and son in an earthquake years ago. Over the last couple of years, he has developed a relationship with a deaf and mute woman, Ladan. The construction site on which he works today turns out to be the set of a film about the atrocities committed by Hitler during WWII. Against all odds, he is given a movie role, a house and a chance at being somebody. When Ladan learns about this, she comes to his workplace begging for help. Shakib’s scheme to hide her goes tragically wrong and threatens to ruin his newfound status and what seemed to be the opportunity of a lifetime.
When Reza is jailed on drug charges under mysterious circumstances, his wife is forced to uproot the lives of their four children. Under Iran’s strict drug laws, Reza faces execution if convicted—a harsh sentence made harsher still by the overwhelming economic and emotional toll it takes on his family. With the future uncertain and nowhere to go, Reza’s family members find themselves at the mercy of actions taken far out of their control.
A chaotic family is on a road trip across a rugged landscape. In the back seat, Dad has a broken leg, Mom tries to laugh when she’s not holding back tears, and the youngest keeps exploding into car karaoke. Only the older brother is quiet.
Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint against the payment of part of the sum. But things don’t go as planned. Is he truly a hero?
Two Iranian teenagers in love want to get married, travel to the US to get a green card and live there, but their parents object. With not enough money saved, they pin their hopes on winning the state lottery to fund their trip, but tragedy derails their plans.
The Night is a psychological thriller that follows an Iranian couple, Babak and Neda, and their one-year-old daughter, Shabnam. Returning home from a friend’s gathering, Babak drives drunkenly, too stubborn to let Neda drive with a suspended license. When Babak’s driving threatens the safety of the family, Neda insists they stay the night at a hotel. Once they check-in, Babak and Neda find themselves imprisoned, forced to face the secrets they’ve kept from each other. And though the clock moves forward, “the night” never ends.
Banned in Iran this experimental film uses fictionalized, grainy, home video footage to tell the story of the abusive relationship between a successful middle aged Iranian businessman and his 18 year old wife, Goli. She has just received a camcorder as his birthday present and the entire story is told from the view of this camcorder. Goli has lived with him and been his sex slave since he took her captive as a nine year old from her family in the Kurdish rebellion. Now she is pregnant, but as she starts to talk back to him and he discovers that she has learned English and started to read, he again is making her more and more a prisoner in his home.
This twisted Iranian narrative follows a mysterious couple from Tehran as they distribute large bags of money in an impoverished mountain border town. Beginning as a black comedy, the film’s mood transforms as the games played by Kaveh (director Mani Haghighi) and Leyla (Taraneh Alidoosti) become increasingly perverse, as they find inventive ways of humiliating the recipients of the cash. The immorality of the central characters is at times sickening, and their chain of lies is often as puzzling to us as they are to the townsfolk depicted onscreen. What is the relationship between the pair and why are they giving away money to the needy? Modest Reception has no easy answers nor pat resolutions – instead Haghighi takes the viewer on an intriguing ride into the dark recesses of the human spirit.
Away from professional stadiums, bright lights, and manicured fields, there’s another side of soccer. Tucked away on alleys, side streets, and concrete courts, people play in improvised games. Every country has a different word for it. In the United States, we call it “pick-up soccer.” In Trinidad, it’s “taking a sweat.” In England, it’s “having a kick-about.” In Brazil, the word is “pelada,” which literally means “naked”—the game stripped down to its core. It’s the version of the game played by anyone, anywhere—and it’s a window into lives all around the world. Pelada is a documentary following Luke and Gwendolyn, two former college soccer stars who didn’t quite make it to the pros. Not ready for it to be over, they take off, chasing the game. From prisoners in Bolivia to moonshine brewers in Kenya, from freestylers in China to women who play in hijab in Iran, Pelada is the story of the people who play.
Documentary – War zone borders, engine trouble and the difficulties of making money to survive couldn’t outweigh the thrill of adventure and discovery Daniel Rintz encountered while motorcycling around the world for two and a half years.
Since women are banned from soccer matches, Iranian females masquerade as males so they can slip into Tehran’s stadium to see the game between Iran and Bahrain. The ones who are caught and arrested are taken to a holding area and guarded by soldiers. One sympathetic soldier agrees to watch the game through a peephole and recount the action to the impatient fans.
Tehran’s air pollution has reached maximum levels because of thermal inversion. Unmarried 30-something Niloofar lives with her aged mother, and stays busy with her alterations shop. When doctors insist that her mother must leave smoggy Tehran for her respiratory health, Niloofar’s brother and family elders decide that she must also move away to accompany her mother. Now Niloofar is torn between family loyalty and living her own life. As the youngest she has always obeyed their orders. Can she stand up for herself this time?
We are taken care of when we are children and we do not know as much as when we are older. There is less to worry about. But it does not mean the things that are important to us as children have less significance. You see, for Scruffy, despite that she is from a poor family of the countryside, it is very important to study well, because she will become an asthma doctor. The doctor said her dad will die but she has decided – she will grow up and cure her father. Equally important is to run away from her grandmother, who almost always is lurking around in the dark corners of the house with a comb to fix her messy hair. Death is too abstract to understand, war is a word one hears on the radio that grownups sometimes listen to. Yet, as Scruffy lives through her days full of happiness and misery at full steam, the most tumultuous years of Iran become unveiled on the background, as we are introduced to the Revolution and the Iran-Iraqi war through the eyes of a child.
A government bodyguard protects a politician from a suicide bomber, and then begins to question his dedication to his job.
After four years apart, Ahmad returns to his wife Marie in Paris in order to progress their divorce. During his brief stay, he cannot help noticing the strained relationship between Marie and her daughter Lucie. As he attempts to improve matters between mother and daughter Ahmad unwittingly lifts the lid on a long buried secret…
An elderly couple go about their routine of cleaning their gabbeh (a intricately-designed rug), while bickering gently with each other. Magically, a young woman appears, helping the two clean the rug. This young woman belongs to the clan whose history is depicted in the design of the gabbeh, and the rug recounts the story of the courtship of the young woman by a stranger from the clan.