Bid-o Bad

The film was written by Iranian master auteur Abbas Kiarostami, and in many ways is a companion piece to Kiarostrami's "Where is the Friend's House". Both stories center around a young boy on a dangerous quest, and failure will potentially produce physical/social/emotional scars. While the film unfolds slowly, as the protagonist risks life and limb to satisfy the school's demands, and in the course of it has to travel a great distance, almost exclusively on foot, a patient viewer will be richly rewarded.

A young school boy was ordered to walk a long way to purchase a piece of window glass larger than he could carry back to his school. The weather was bitter and the wind so strong that he almost failed on the road. He tried hard and finally moved the load back to the classroom where he was supposed to fix up a broken window. He was all alone and no one to turn for help. The glass blew crushed in pieces by the wind...

This is the best film I've seen in recent years. It gives helplessness and uncertainty a wider view, in isolated mountainy landscape. This one is a seamlessly made masterpiece by Iran director Mohammad-Ali Talebi. The child actor is very creditable.

The director may be Mohammadali Talebi, but the film is still an Abbas Kiarostami film. It is clear from the very first frames that this is a script from his pen, and by the way, this may be my favorite Abbas Kiarostami film. Unfortunately, for those who have not set foot in Iran, Iranian cinema is nothing more than orientalism or poverty literature, especially as we can see from the comments made on platforms like Letterboxd and IMDb. For people like me who have been to Iran and are passionate about Iranian art and literature, Iranian cinema is the reason for the emergence of cinema...

Children, roads, difficulties, challenging weather conditions, fear, sense of responsibility, anger - this is not just a film, it's reality...

That's why the world's best child actors usually come from Iranian cinema, even though most of them have not received any formal acting training. Just like the two rascals in the movie "Bid-o Bad" (Willow and Wind)... They live unaware of the global success of the films they star in.

This film, which looks like the fourth film in the Koker trilogy directed by Abbas Kiarostami, looks at least 30 years older despite being made in 2000, and this old atmosphere suits the film very well.

"Bid-o Bad" is a touching and powerful film that transcends cultural boundaries. It is a testament to the universality of human experience and a reminder of the importance of perseverance in the face of adversity.... Rest in peace Abbas Kiarostami

If the Middle East wasn't so complicated, I would go to Tehran on the first plane tomorrow, that's how excited I get when I watch Iranian cinema.

There are so may of them ! And almost every title ends with really valuable life lesson.

It also happens in Beed-o baad.

In first few minutes of the movie you get to know a little boy who comes from another part of the country. You'd think "oh yeah, this will be the main character of the movie", but no. He actually becomes a valuable friend of another boy - the child who has a detention because he broke the window in the class. His sad eyes and worry written on the face say more than countless words. For the rest of the movie we accompany him in an attempt to solve mentioned problem. Will he prevail or not ?

Film is shot really well. Scenario is plausible, you can imagine most of it happening in your own childhood (even more if you live in a small community or country).

Also Iranian cinema is known for filming nature. If you're aficionado of that theme, you won't regret watching Mohammad-Ali Talebis movie.

What's important is that it keeps viewer tense (in a good way). You're cheering for boy and good outcome of situation.

Willow and Wind, directed by Mohammad-Ali Talebi and penned by the legendary Abbas Kiarostami, is one of those rare films that speaks fluently in the universal language of cinema. Set against the muted tones of a windswept Iranian landscape, the story is simple on the surface, but layered with meaning that transcends words. In fact, even if you're unable to find a version with subtitles, you'll find never needed them. The film communicates everything through visual storytelling and atmosphere. Its power lies in what's seen and not said.

The story follows a boy on a mission, a mission so critical, his future is fully dependent on it. While the dialogue is sparse as I mentioned, the emotional clarity is sharp. The metaphor of the glass pane he carries is nothing short of masterful. It's delicate. Fragile. A burden that must be transported across rough terrain and in the face of forces beyond his control. So compelling is the dangers with which "The Boy" faces are completely unrecognized by him, but glaringly apparent to the viewer. The metaphor transcends words. Words fail.

The wind, almost a character in its own right, doesn't just push against the glass, it pushes against his very will. And the willow, another powerful metaphor, bending but not breaking; mirroring the resilience of childhood and of endurance through quiet interaction of the wind.

Why not 10 stars, then? One scene, elongated but almost forgettable, pulls focus from the film's delicate momentum. It adds nothing to the emotional tone, nothing to the structure, and in hindsight, feels like a misplaced moment in an otherwise meticulously constructed work of poetry. It doesn't ruin the film by any means, but it slightly mars the purity of its rhythm. When a movie is this carefully woven, even a minor distraction feels more significant, in my purview.

Still, Willow and Wind remains one of the most visually eloquent, metaphorically rich, and emotionally resonant films you're ever likely to stumble across. Its minimalism is its power, and its silence is louder than most films that scream. Seek it out. And if the subtitles are missing, watch it anyway. The story will find you.