NekoHomey Purely Joyful Movie!

Flyerplesys Perfectly adorable

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

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.

superlo This is the story of Karim, the rural Iranian father of a deaf teen-aged daughter and two younger children. When, at the same time, he loses his job on an Ostrich ranch and his daughter loses her hearing aid right before important school exams, he heads to Tehran on his motorbike to look for work. By accident, he becomes a motorbike taxi driver and begins to make more money than he ever dreamed of. But he also begins to change as his desire for things and his ethics collide. Having promised his wife that the first priority would be to replace their daughter's hearing aid, he finds himself tempted by the material life he now has access to. Several heart breaking incidents cause him to examine what he has become. While the story/parable may be familiar, what is special is the way Majidi presents it. The dialogue is minimal letting the non-verbal actions of the characters speak for themselves as well as the great cinematography. Unlike many (not all)American films, it does not insult your intelligence with shallow dialogue and unnecessary action. Majidi really develops the characters into believable human beings. Reza Naji is great as Karim and the children in the film are so delightful and photogenic. And if you enjoy learning about and experiencing other cultures, it is a great window into Iranian culture, in this case, both rural and urban. With most of us only getting the sound bites about Iran we hear on radio or TV, this will give an insight into the real people and culture.

jeppesen-1 I don't know if this movie is considered a comedy, but soooo many funny things happen it's hilarious from start to finish. The main thing that comes to mind is murphy's law (if it weren't for bad luck, I'd have no luck at all; or, if anything can go wrong, it will.) I also really enjoyed seeing the Iranian landscape and their way of life. Everything that can be used or fixed is utilized. This movie is serious, funny, heartwarming, and good clean family type of entertainment. I thought the acting was great, and the characters endearing. This has got to be one of the best foreign films I've seen. Best thing since Slumdog Millionaire. Too bad it wasn't in English, but than maybe that added to the overall sense of the movie.

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.