jaafarmkd another great film from great Majid Majidi. those people who live in Iran can deeply feel the atmosphere of the film.in this film Karim is a symbol of humankind and birds are messengers of god. their appearance each time reminds Karim the fact of his life.every time we hear the sound of sparrows Karim is making a decision and god wants to help him to make the best. it seems that no one else can do this. in this film ostrich is a symbol of Karim and so a symbol of human. ostrich is like birds but can not fly ,so as Karim. he wants to be bad but he cant. some of the shots taken from above seem to be from the gods point of view. for example when Karim goes through a burned field with a blue door on his back, a door to sky, or when he searches for the lost bird. the music from Alizadeh is excellent and really impressive and fits the scenes. it's all about humanity...

hareendranep This movie underlines the fact that a movie belongs to the director, How he treats the theme and narrate the story. This movie is about a very ordinary man living in the outskirts of Teharan, Finding it very difficult of get the income sufficient for the family, But happily living with them.The struggle of a common man is beautifully enacted by Mohammed amir Naji. He really deserve an applause for his splendid performance throughout the movie.All other characters in the family also given very good performance. The first few minutes of the movie is in a ostrich farm where the protagonist is working. Those who have not seen ostriches in real life this is visual treat. Similar is the way in which two wheeler's are used as Taxi in Tehran.The silence of Desert is beautifully captured in this movie. The background music is also very apt. Overall this movie is a pleasant experience , thanks to the care taken by majid majidi in each scene.

crey014 Majid Majidi helms "Avaze Gonjeshk-ha", a film that laments on the influence of materialistic societies and elevates pastoral romanticism. Beautifully filmed and empathetically characterized, audiences will be enchanted by little pleasures delivered, eventually snowballing to something poetically charged. Run time might be excessive, but this might just prove as nitpicking. Script lacks any sort of cynicism, a positive, as the film is nostalgic to moments of innocence. Question is, did it even exist? Picture shows it did in Majidi's universe.First act parallels the vibe of the Argentinean produced "Bombon: El Perro". Main protagonist Karim (Mohammad Amir Naji), fired from his job as an ostrich farmer, ventures off to Tehran to earn some money and find means to upgrade a broken hearing aid desperately needed by one of his daughters. Characterization is the main motivation here, as the director lovingly sculpts Karim as a paternal character untarnished by any sort of negative, earthly influences. Not that he is uninspired by desire, but his desire is more directed to more altruistic means towards his family. Thesping by Naji is pitch perfect.And here's where the film becomes more than it actually claims to be. Venturing off to exciting Tehran, Karim turns wide eyed, as he accidentally becomes a taxi driver. Comedy is potent here, definitely not used to degrade main protagonist though. Eventually, picture develops him into an influenced mortal showing greed and materialism. From an innocent television antenna, his backyard expands and practically becomes a junkyard. His character development transcends the screen, as every piece of junk he hogs, loss of his old self is palpable.Directing clearly emphasizes Karim as an Adam out of Eden, banished by circumstances to a city wrapped in earthly pleasures. Cinematography plays a massive role in this recurring theme. Lensed by Turaj Mansuri, film paints Iranian countryside as fertile and effervescent whilst modern Tehran isn't exactly depicted as ruthless and evil, but more constrictive and crowded. Cityscape is painted as monotone brown, allowing the characters to paint themselves, easily using citizens to express a point. Film isn't judgmental of city living, only reminds them of what they're missing.And that's just the first act. Next chapters' focuses on Karim's redemption from a fall from grace, events transpired that might come off normal to modern people but nonetheless, out of character to himself. His family life is placed in focus, as with Karim, audiences are allowed to comprehend (and remind main protagonist) what his old desires were. Undoubtedly contemplative and metaphorical, film guarantees a high replay value. Film strikes a cord with a visual cue on fish out of water.Picture definitely doesn't ask much from the audience, however it's upon the audience to accept it. This will reward them though as Majidi proves himself as a rich painter of not characters, but spotless souls. As with his previous films, Majidi transfers his optimism on celluloid without much trouble. Detail here is exemplary as every facet of the production is riddled with ideas waiting to be uncovered by repeat viewings.

kosmasp Another movie that played at the Berlin Film Festival, this low-key drama has a very human side to it. The actors (some of which were also in Germany for the premiere and seem as down to earth, as the roles they played in this movie) are really good and have a simplicity to them that is very gorgeous.The characters are very down to earth and the story itself or let's say it's pace, might remind people of classic movies such as "Bicycle Thieves" (kind of neo-realism, if you want to call it that). If you don't have a problem with that, then you will enjoy this movie as much as the audience in Berlin did (including myself) :o)