The Photo (Persian: عکس) is a 2001 Iranian drama film Written and directed by Hossein Shahabi
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Leyla and her six-year-old daughter Nila live in the holy city of Mashhad in Iran. Nila is the result of a temporary marriage, which allows a man to marry a woman even if he is already married. Children born from such a relationship are legally non-existent. As long as the father does not recognize the child, no birth certificate can be issued and Nila cannot attend school. The documentary depicts Leyla's tireless efforts to clarify Nila's legal status in order to offer her a perspective for her future. In a never-ending bureaucratic battle, Leyla fights not only against the legal system, but also against a judgmental society.
Revenge may have irreversible consequences.
In the middle of a midlife crisis, Sacha leaves his girlfriend and moves into his grandparents' Airbnb. There he meets Marjan, a married Iranian woman. The involuntary encounter becomes a moment of new possibilities.
A young toymaker tries to make sense of the impermanence of life that he has been forced to acknowledge through experiences of separation and death.
After seven years in prison, a female student in Tehran is hanged for murder. She had acted in self-defence against a rapist. For a pardon, she would have had to retract her testimony. This moving film reopens the case.
A woman attempts to obtain the consent of the victim's family to release her husband from the death penalty, meanwhile, the husband is suffering from brain death.
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Famed actress Susan Taslimi plays three roles here: Kian, who doubts her identity; Vida, the twin sister, a self-assured artist; and their mother, who gives up one child out of fear of poverty, then deprives the other of affection because she deeply regrets the child whom she has abandoned.
Itinerant Kurdish teachers, carrying blackboards on their backs, look for students in the hills and villages of Iran, near the Iraqi border during the Iran-Iraq war. Said falls in with a group of old men looking for their bombed-out village; he offers to guide them, and takes as his wife Halaleh, the clan's lone woman, a widow with a young son. Reeboir attaches himself to a dozen pre-teen boys weighed down by contraband they carry across the border; they're mules, always on the move. Said and Reeboir try to teach as their potential students keep walking. Danger is close; armed soldiers patrol the skies, the roads, and the border. Is there a role for a teacher? Is there hope?
After an Afghanistan-born woman who lives in Canada receives a letter from her suicidal sister, she takes a perilous journey through Afghanistan to try to find her.
A middle-aged Tehranian man, Mr. Badii is intent on killing himself and seeks someone to bury him after his demise. Driving around the city, the seemingly well-to-do Badii meets with numerous people, including a Muslim student, asking them to take on the job, but initially he has little luck. Eventually, Badii finds a man who is up for the task because he needs the money, but his new associate soon tries to talk him out of committing suicide.
A young couple have problems in their marriage.
Makhmalbaf puts an advertisement in the papers calling for an open casting for his next movie. However when hundreds of people show up, he decides to make a movie about the casting and the screen tests of the would-be actors.
An old villager deeply in love with his cow goes to the capital for a while. While he's there, the cow dies and now the villagers are afraid of his possible reaction to it when he returns.
Against the tumultuous backdrop of Iran's 1953 CIA-backed coup d'état, the destinies of four women converge in a beautiful orchard garden, where they find independence, solace and companionship.
An 8-year-old boy must return his friend's notebook he took by mistake, lest his friend be punished by expulsion from school.
A satirical take on the mundane absurdities of life in modern-day Iran, these nine vignettes illuminate the lighter side of enduring under authoritarian rule. Whether choosing a name for a newborn, graduating from grade school, getting a driver’s license, applying for a job, or seeking approval for a film script, if you live in Iran, you best come fluent in Orwellian discourse.
A yellow cab is driving through the vibrant and colourful streets of Tehran. Very diverse passengers enter the taxi, each candidly expressing their views while being interviewed by the driver who is no one else but the director Jafar Panahi himself. His camera placed on the dashboard of his mobile film studio captures the spirit of Iranian society through this comedic and dramatic drive…
Golsa is a 16-year-old girl living with her family in a small town near Tehran. She spends most of her time hanging out with a group of friends. One day the group decide on a course of action the consequences of which will have unexpected results and turn their little bit of fun into something far more complicated.
16-year-old Hormoz is consoled by the prospect of hiring on at the strip mine as he is married off to 13-year-old Hendi. Alas, the young man finds the doors of opportunity shut tight. When Hendi becomes pregnant Hormoz enters into an ominous pact with a smuggler in order to ensure his family’s livelihood.
