Bag of Rice

The best thing about this movie (and other Iranian movies i have seen) is the simplicity and natural acting of their actors...specially the child actors.

Story is simple. Its about the adventures of an old lady with a 6 year old girl to buy a sack of rice from main market and all the hurdles they face during this task. Execution is perfect. Acting is so natural and realistic that its just heart-warming.

Bottom line: If you are utterly bored by the routine holly or bollywood movies and wants to see something that touches your heart, give this movie a try. Your 80 minutes wont be wasted !!!

A small child and her elderly neighbor are having all kinds of small adventures in the streets of Tehran to get a sack of rice. This is a minimalist film where nothing and everything happens depending on how you look at it. This is Seinfeld Iranian style from a child's point of view if you like. This movie is very different from your ordinary Hollywood kind of child movie. It is utterly unpredictable, very humane and extremely warm in its depiction of normal every day people. It also gives the viewer a rare glimpse in the poorer areas of southern Tehran. The actors here are playing themselves, so if you ever feel like to see a film that is not pretentious, warm, funny and goodhearted, then grab the smallest kid in the family and get to the theater.

My initial viewing of Willow and Wind (1999) prompted me to declare it a masterpiece, a sentiment only amplified by subsequent viewings, leading to a profound affection for the film.

It appears that the filmography of Mohammadali Talebi is replete with masterworks, and this particular picture is decidedly among them.

To begin with, the very fact that this is a Japanese-Iranian co-production renders it inherently compelling; indeed, the opening moments treat the viewer to distinct Japanese melodies.

Beyond the sheer brilliance of the cinematography, the hallmarks of Iranian cinema - those naturalistic performances - are among the details that elevate this film to a singular status.

The screenplay, penned by Houshang Moradi Kermani, whose name had previously eluded my attention, coupled with the exceptional directorial acumen of Mohammadali Talebi, swiftly secured this film a place among my most cherished.