Maysam Makhmalbaf

스물두 살의 클라우디아는 여섯 살짜리 조숙한 딸 마르게와 함께 사는 싱글 맘이다. 집세를 못 내 쫓겨난 클라우디아는 마르게를 옆집 노인에게 맡기고 돈을 벌기 위해 고군분투한다. 마르게 역시 할머니의 감시 속에서 자신의 철학을 지켜내기 위해 애쓴다. 죄와 벌, 용서와 구원에 관한 마흐말바프의 우화.

스물두 살의 클라우디아는 여섯 살짜리 조숙한 딸 마르게와 함께 사는 싱글 맘이다. 집세를 못 내 쫓겨난 클라우디아는 마르게를 옆집 노인에게 맡기고 돈을 벌기 위해 고군분투한다. 마르게 역시 할머니의 감시 속에서 자신의 철학을 지켜내기 위해 애쓴다. 죄와 벌, 용서와 구원에 관한 마흐말바프의 우화.

Short film from omnibus 'Beautiful 2015,' commissioned for the Hong Kong International Film Festival Society.

Short film from omnibus 'Beautiful 2015,' commissioned for the Hong Kong International Film Festival Society.

It is a story of a unique family in the world; A documentary on how a former political imprisoned revolutionary in a religious closed society like Iran, turned his house in to an open Film School and pave to way for his family to became world class film maker and top International award winners , including Cannes Venice , Berlin, San Sebastian , Locarno and many.

자신이 군림했던 세상에서 도망자로 몰락한 독재자. 이 상황을 이해하지 못하는 철부지 손자에게 연극을 하자고 제안한다. 목숨을 건 위험천만한 여정에서 지난날 자신이 저질렀던 만행을 하나 둘씩 고스란히 마주한다.

자신이 군림했던 세상에서 도망자로 몰락한 독재자. 이 상황을 이해하지 못하는 철부지 손자에게 연극을 하자고 제안한다. 목숨을 건 위험천만한 여정에서 지난날 자신이 저질렀던 만행을 하나 둘씩 고스란히 마주한다.

모흐센 마흐말바프 감독이 전하는 영화감독 김동호의 첫 번째 단편영화 주리의 제작일지. 정부관료에서 시작해 영화제 집행위원장을 거쳐 영화감독으로 변모해온 김동호 명예집행위원장. 마흐말바프 감독은 우정 어린 시선으로 그의 과거와 현재를 일상과 변하지 않는 그의 미소 속에 담아낸다.

An Iranian filmmaker and his son travel to Haifa, Israel to investigate a religion that originated a hundred and seventy years ago. Youth from all over come to Haifa to join this religion, and those who serve in the gardens that surround the holy places develop peace-loving attitudes through their interactions with nature. The filmmaker shares with his son the idea that if the Iranian people had adopted a peaceful religion, Iran would not be preparing a nuclear attack on Israel, but the son believes that all religions tend to bring about destruction. As a result of these arguments, father and son separate from one another and pursue their own paths.

An Iranian filmmaker and his son travel to Haifa, Israel to investigate a religion that originated a hundred and seventy years ago. Youth from all over come to Haifa to join this religion, and those who serve in the gardens that surround the holy places develop peace-loving attitudes through their interactions with nature. The filmmaker shares with his son the idea that if the Iranian people had adopted a peaceful religion, Iran would not be preparing a nuclear attack on Israel, but the son believes that all religions tend to bring about destruction. As a result of these arguments, father and son separate from one another and pursue their own paths.

An Iranian filmmaker and his son travel to Haifa, Israel to investigate a religion that originated a hundred and seventy years ago. Youth from all over come to Haifa to join this religion, and those who serve in the gardens that surround the holy places develop peace-loving attitudes through their interactions with nature. The filmmaker shares with his son the idea that if the Iranian people had adopted a peaceful religion, Iran would not be preparing a nuclear attack on Israel, but the son believes that all religions tend to bring about destruction. As a result of these arguments, father and son separate from one another and pursue their own paths.

A playwright Iran tries to confront a creative crisis while political clashes erupt during her country's 2009 election.

A man enters a bar, sits and observes, not speaking. Gradually, the silent presence of the stranger disturbs the other customers.

A wealthy boy hires a poor child to carry him around like a horse.

A young girl zealously wants to go to school and learn to read and write. Almost everywhere she is met with hostility or indifference. The only young boy who takes her to his school is thrown out by the teacher, because helping her prevented him from arriving in time. On her way home she and other girls are taken as prisoners by boys playing as Taliban fighters. They tear her school book to pieces and threaten to stone their female captives.

Two children are orphaned in post-Taliban Afghanistan.

The film and camera of Maysam Mkhamlbaf, Samira's brother follows her like an invisible eye. From her first subconscious presence as an actor, when she was one months old and crying in her mothers arms, while acting in a feature movie made by his father up to her first conscious appearance as an 8 year old child actor in the movie Cyclist made by his father in Pakistan. From when Samira made her first movie Apple at 17 or when she goes to visit the two imprisoned girls in the movie "Apple" and when she is occupied with changing the professional actor of the movie "Blackboard" with a non-professional actor (ordinary people) and even when she was attending the Cannes Film Festival in the years 1998 and 2000.

The film and camera of Maysam Mkhamlbaf, Samira's brother follows her like an invisible eye. From her first subconscious presence as an actor, when she was one months old and crying in her mothers arms, while acting in a feature movie made by his father up to her first conscious appearance as an 8 year old child actor in the movie Cyclist made by his father in Pakistan. From when Samira made her first movie Apple at 17 or when she goes to visit the two imprisoned girls in the movie "Apple" and when she is occupied with changing the professional actor of the movie "Blackboard" with a non-professional actor (ordinary people) and even when she was attending the Cannes Film Festival in the years 1998 and 2000.

The film and camera of Maysam Mkhamlbaf, Samira's brother follows her like an invisible eye. From her first subconscious presence as an actor, when she was one months old and crying in her mothers arms, while acting in a feature movie made by his father up to her first conscious appearance as an 8 year old child actor in the movie Cyclist made by his father in Pakistan. From when Samira made her first movie Apple at 17 or when she goes to visit the two imprisoned girls in the movie "Apple" and when she is occupied with changing the professional actor of the movie "Blackboard" with a non-professional actor (ordinary people) and even when she was attending the Cannes Film Festival in the years 1998 and 2000.

The film and camera of Maysam Mkhamlbaf, Samira's brother follows her like an invisible eye. From her first subconscious presence as an actor, when she was one months old and crying in her mothers arms, while acting in a feature movie made by his father up to her first conscious appearance as an 8 year old child actor in the movie Cyclist made by his father in Pakistan. From when Samira made her first movie Apple at 17 or when she goes to visit the two imprisoned girls in the movie "Apple" and when she is occupied with changing the professional actor of the movie "Blackboard" with a non-professional actor (ordinary people) and even when she was attending the Cannes Film Festival in the years 1998 and 2000.

첫 번째 이야기 어린 소녀는 아홉 번째 생일날 그녀는 이제 "여자"가 되었기 때문에 더 이상 남자 아이들과 놀아서는 안된다는 이야기를 듣는다 두 번째 이야기 남편의 반대를 무릅쓰고 자전거 경주에 참가하는 젊은 여성의 이야기. 처음에 남편이 그리고 시간이 갈 수록 점점 더 많은 마을 남자들이 그녀에게 집으로 돌아갈 것을 종용하는데... 마지막 이야기 상속받은 돈으로 이제 자신이 원하는 일을 할 수 있게 된 노년의 여성을 보여준다. 이 자유를 누리고자 그녀가 선택하는 방법은? 은 같은 시간 같은 장소에서 펼쳐지는 다른 세대의 세 여성이 꿈꾸는 자유와 여성에게 가해지는 잔인한 제약에 관해 이야기한다. 감독은 메마른 대지와 검푸른 바다가 부딪히는 해안선을 담은 풍광을 대비시키면서 미니멀리즘과 초현실주의를 동시에 느끼게 하는 영상을 통해 이란의 현실에서 여성이 된다는 것의 의미를 예리하게 되묻고 있다. (2018년 제20회 서울국제여성영화제)

A film about an anthropologist and his daughter during three periods: before, during, and after the Iranian Revolution. The daughter works in the accident & emergency department of a hospital, which is never empty of suicidal patients. The reason behind each suicide attempt is different, especially before and after the revolution. Looking for a reason to live, one of the suicide patients falls in love with the anthropologist’s daughter.