Rarely do we see a natural masterpiece reminiscent of the great Italian neorealist directors. Many people will sadly miss this film simply because it doesn't have the marketing or star power of a Hollywood film. The Iranian Majid Majidi directs his film with a natural, neorealist flair without effects or a big budget. His story of forbidden love is classic; the principal characters Lateef and Baran start off awkwardly since Baran dressed as a boy Rahmat in disguise takes Lateef's job at a construction site in Iran. Lateef is an argumentative trouble-maker who becomes jealous and treats Rahmat badly until he realizes, Rahmat is a girl, Baran. He becomes embarrassed and goes about mending his ways. Baran is obviously put off and confused by Lateef's oafishness and cruelty towards her. But at the end, after when they picked up the fruits and when she stumbles into the mud he replaces her shoe, she could not take her eyes off him. The construction foreman Memar played by Mohammad Amir Naji is a brilliant actor, full of character and charisma. Zahra Bahrami who plays Baran-Rahmat never says a word but her facial expressions and pain in doing manual labor is brilliant. In a way she reminds me of the silent characters in the Korean off-beat film, 3-Iron or Bin-jip. Hossein Abedini, who plays Lateef is not a great actor although he has good moments. But aside from him, the movie was quite masterful. Most reviews discuss the touching story and today's cultural taboos in central Asia or the artful direction of Majidi. But I would like to add that the film's most beautiful moments are the directors and cinematographer's collaboration of capturing absolutely stunning moments much like you'd expect from the best of National Geogaphic's or Life's (old magazine) best photographers. The simply-hung curtains in the doorways swaying in the wind was a brlliant cliché of passing time. Lateef's hat (with Baran's hairpin) which he placed by the fish pond was stunning. The timing of both scenes in its lengthy pause, so simple, was brilliant. Near the end, the criss-crossing of the hands in picking up fruits is a symbol of the affection he feels for her. Following that was the simply brilliant slow motion of Baran flipping her aquagreen burka headdress back into place, signifying her unavailability. It seemed so cruel but culturally inevitable. The poverty of the characters and richness of the film contradict but capture the essence of humanity at its deepest. I love this film and I rate a 9.5 (not a 10 which appears here) of 10 only because Hossein Abedini could have been a stronger lead.

when you sit down to watch a movie from someone who created "children of heaven" and colors of paradise...u expect world class cinema.to me this was not in any such league.for a man who wrote and directed children of heaven with sheer excellence ,i am surprised he directed a movie which fails to evoke me much. the cinematography without question,is excellent.the scenes from Iran are as beautiful as a poem.the imagery and symbolism of rain and the smile that symbolizes the awakening of his soul, despite his misery is beautiful.at several points i was struck by the beauty of the emotion that he has tried to capture.but is there a point? perhaps i am not a lover.i am romantic,but not romantic enough to understand the love that kept growing without any interaction or rationale.why was he so in love with her? we see that though this movie is slow it is not static,the characters are well portrayed and the plight of the workers is brought out as a background theme.what is central to the theme is how love makes a person outgrow the limitations of his heart and teaches him to open himself up.selflessness is an endearing note,but sometimes i feel that why you do something matters as much as what you do.there is no rationale here.eternal lovers will tell me that love knows no reason ,but i somehow refuse to believe that. what puts this movie apart from most others is that there is no stress on building stereotypes.memar is not how "memar's" are usually portrayed as .the workers though overworked show a sense of camaraderie that is endearing.and even their love is not as clichéd as it seems. i reiterate that i simply loved the camera work.the scene where the letter flows down the brook...where he looks at the curtain ,where he sits among the pigeons whom she had fed once are all well painted.. i would say that this film is certainly worth a watch but do not expect a Marji majidi level movie...because for those who fell in love with "children of heaven:" this is surely a let down.

Another thought-provoking, unique, deep, understandable, warm, loving and touching tale comes from Iran, by the hand of Majid Majidi, the one who brought "The Children of Heaven" to our eyes. As impeccable and human as that one, comes "Baran". What an amazing film. You don't see these type of characters every day. They barely speak in most of the occasions, but they show emotions.The whole piece beautifully and well done, that it really touches deep. These situations and these people make the film so watchable. Lateef is a normal person, he spends his everyday life as anyone else, working, earning the money for his life (although he hasn't received that money yet, but he will). Soltan works there, also, although he shouldn't, as many other workers. Soltan brings a boy one day, and after some events, this boy steals (it's a way to put it) Lateef's job. He's angry, we get it. But he sees, some time after, a girl behind a curtain (in a beautiful scene, with a patient camera watching carefully both angles). A girl he used to know as a boy, and he is shocked. He has fallen in love.After this, nothing matters, only this girl (Baran, we hear from her father; and if you don't listen carefully, you'll miss it, because it's the only time the word is said). Then we join Lateef in his journey, for love. He's desperate. He sees Baran suffering, and ends lying to his boss, to get some money for her. To help her.One of the most incredible things in the story, is the development of this boy's personality. He wants to help, but at the same time, doesn't want the people he's helping to know it. He wastes his time in the invention of stupid excuses, just to hide himself. Hiding himself from who? From this girl, the reason of his changes and efforts? Why? He wants to be with her.The last scenes come as magical and "one of a kind" as the ones in "The Children of Heaven". Lateef sits and contemplates a curtain, similar to the image seen the fist time he discovers Baran. Now he is making decisions, but only in his mind, because it is late already. The next morning, Baran is leaving, I guess it's not important where. He helps her to pick some things she has dropped. She sees him, and completely knows the things he has been doing for her. Then she just smiles, and gets in the truck. She leaves, he watches.Maybe he'll regret it.

I see this film after many years that I living out of Iran ,I think that maybe it is humdrum for someone but it have a really romance story . not only me but many of the guy's that I know them ,see this film for more than one time.also I must say about actors and back ground of this , I think that it have a poor camera moving ,and also not have a wide back ground , but actors ,specially first boy and Afghans girl have a nice play in this film ,it has a simple story but have a deep looking to human life (real life) so I hope that this film director and actors make more film like this , I guess that it's have a many customer like us out of Iran .