Precious little Ahmed, while on his determined journey to give his friend's homework book back, is asked by his grandfather to fetch his cigarettes. His face immediately perks up and his eyes betray his panic; he has no time for this 'duty' that the young must serve the old, because Nematzadeh's spot in the school is in jeopardy. As he hurries off, his grandfather slyly reveals that he is already carrying his cigarettes with him and that Ahmed's task is merely a symbolic one. He monologues passionately about the importance of the younger generation having obedience and respect beaten into them (literally) like he did with his own son. Discipline is what shapes the man. The schoolteacher likewise stresses their homework as a way of building discipline, no matter the other menial work that must be completed (what is farming for food to dictation and comprehension?). But the great irony is that the grandfather is blinded by the courageous act right in front of him; Ahmed's steadfast determination to find Nematzadeh and return his book, bearing the responsibility of the long and arduous journey onto those little limbs of his. Kiarostami's visual sensibilities have often been geared towards this motif of blindness, of the inability to truly see the events in front of one's eyes. In both Taste of Cherry and The Wind Will Carry Us his trademark shot was an extreme overhead wide shot of a man-made vehicle moving through natural beauty, coupled with the contradiction of the character's dialogue right in our ears. This technique presents the lack of focus to the audience disconcertingly; what we see is not what we hear, and the film is similarly riddled with moments lacking perception and awareness. The tone here is almost whimsical; Kiarostami's camera aligns the point of view with Ahmed, which allows for visual gags that would be merely throwaway bits in other films. Ahmed moves up a alleyway, only to have a cow block his passage. He seemingly speaks to a magical, moving bush, as if he was living in a children's book, and only afterwards does the man swing around and present his feeble frame carrying the branches. A brown trousered boy walks across the screen, winking liberally, conveniently carrying a board which obscures his identity and Ahmed's true objective. The story would not be half as engaging without the tremendous work of Babek Ahmedpour, little more than an amateur plucked from the ranks to portray Ahmed. Every breath and every step is less acting and more the natural boy inside him flourishing. When an adult easily plucks Nematzadeh's book from under his arm and tears out a page for himself (and then, for added measure, uses it as a writing board), Ahmedpour's eyes flicker frantically from book to beast ravaging it. This is not something that could be faked; it is the panicked reaction of a child having what little control they possess wrested away before their very eyes. Similarly, his closeup reveals all the motivation we need to see as the teacher scolds a teary Nematzadeh. He scurries along the zig- zag path but finds that structure and convention can only take him so far, and even a brave face is no match for the horrors of nightfall. In the end, his solution is pragmatic but not entirely morally sound - I wonder what his grandfather would say, and how thick the rod might be.

Simplest of the stories can be told movingly if told with a good heart. I never watched an Iran movie and always refrained coz they are extremely sentimental is what I read about them and that kept me away from them. My premonition came true with this, it moved me in every way for the kid, when he ran through the streets to find out where his friend his, when he met an old man whom gave him what he should be, when he persuaded his mother to go out and return his friend a book, I can see that but my heart was always in the boy and with the boy, I wanted him to win and return the book.The opening and ending are strange for me, coz the boy whom I thought is the main hero comes and goes in few frames but the whole story is about his friend but I would say it's this boy, who is seldom seen is the protagonist coz he drove the whole story while his friend was just running for him. Technically, this is not great coz camera is simplistic and there are no production qualities. Also, so much could have been edited out that is still a part of the movie. Like the way this boy persuades hi mother is itself 6 minutes. But it's neither slow nor boring coz of a stronger and a curious story. The dialogues I understood through subtitles seemed apt. Acting is terrific and I would give the boy a special gift.I heard of this film, when my FTII (film institute ) friend referred this and I must say, this is a typical FTII movie, its an easy watch but hard to digest. I am better off not watching Irani movies coz I cannot just keep wiping off my eyes, i did that 4-5 times in this 75 minute film. Abbas Kiarostami, the director should be credited for all that he did and in fact he is now one of the very few heart ful directors who has a heart more than a mind.It's 4/5 for a movie that moved me extremely.

I'm sorry I've seen this movie doubled in Spanish and not subtitled in Portuguese but, even so, I found it lovely. It is all about how children live in the adult's world and how they perceive and deal with them. It is also about how children can understand each other and help each other to survive the power and rules of adults. It is filmed very closely to the children which means we see the adults, houses, streets and landscapes from their point of view. The story is very well written, playing very wisely with our expectations. It is an almost timeless and universal story but the where and when it happens is brilliant.

Ahmad's classmate has a bad rapport with teacher because he doesn't finish his homework and is given a 'last' warning. Ahmad by mistake take his notebook home as their notebooks look the same. Ahmad must return the notebook but unfortunately his friend lives a little far and he doesn't know his exact address.It's a masterpiece. There is no doubt that the only other film, based on the psychology of children, which can be compared with this great film is 'Chilren of heaven'. Feel of the film is 'Bicycle thief' like which was again the main source behind 'Pather Panchali'. Story is very simple but it's amazingly complex. Its about the morality children have which elders are too grown up to own. While Ahmad has such compassion and concern for his friend, for rest of the world it's not even an issue. Ahmad gives a helping hand to his mother at home and so he has to really sneak out. Small details like Ahmad know his friend's father's occupation and so he tries to find people of that profession. In one scene he asks a lady if she knew about his friend and that lady asks him to stop for a while and comes down from her house and asks Ahmad to help him in some very weird work I don't remember. It's brilliant. Film is not made with a documentary touch; it's made with a fantastic film touch. It gives a fantastic view of roads and people in Iran. My favorite scene is when an elder uses the notebook for some scribbling and Ahmad watches it helplessly and disapprovingly. Classroom scenes are marvelous.Acting wise it's unbelievable how an 8 years old boy has done such a terrific job. Abbas Kiarostami is definitely one of the top 5 directors of our times.10/10