Bright Shadow (Persian: سايه روشن) is a 1997 Iranian drama film written and directed by Hossein Shahabi (Persian: حسین شهابی)
Samin
Nader
Mahmood
Karim
Sara
Azar
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.
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.
Revenge may have irreversible consequences.
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.
Bahman, Mahtab, Ramin and Donya Mehdipour are enjoying a perfect summer in a small Finnish town. Their routines are fractured by a negative decision on their application for asylum by the Finnish Immigration Service. But life must go on and the 13-year-old Ramin is about to enter an entirely new school, junior high. The Mehdipours use their last chance to appeal but continue their everyday lives, fuelled by their exceptionally positive outlook and attitude.
A young couple have problems in their marriage.
A 15-year-old Somalian boy meets a 40-year-old Iranian man in a refugee camp in Skåne, in the south of Sweden. With the threat of deportation hanging over them, they decide to take their faiths in their own hands and together they go on a journey in the Swedish summer.
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.
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?
A hacker group empty a bank account of a big strong person. The story goes on and now they must pay for that.
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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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.
Award-winning Iranian filmmaker Rakshan Banietemad ends her eight-year hiatus from feature filmmaking with this ingenious, mosaic-like narrative, which knits together the stories of seven characters to create a microcosm of Iranian working-class society.
Behrani, an Iranian immigrant buys a California bungalow, thinking he can fix it up, sell it again, and make enough money to send his son to college. However, the house is the legal property of former drug addict Kathy. After losing the house in an unfair legal dispute with the county, she is left with nowhere to go. Wanting her house back, she hires a lawyer and befriends a police officer. Neither Kathy nor Behrani have broken the law, so they find themselves involved in a difficult moral dilemma.
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.
Rouhi, a young bride-to-be, is hired as a maid for an affluent family in Tehran. Upon arriving, she is suddenly thrust into an explosive domestic conflict. The wife is convinced her husband is having an affair and enlists Rouhi as a spy, to follow her husband, and confirm her suspicions. What Rouhi discovers, however, threatens not only their marriage but her own future.
Youssef, a blind university professor, is suddenly diagnosed with a fatal disease and must undergo treatment in France. Back home, will he find the life he had before?
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