An Iranian widower seeks to remarry, but feels burdened by the presence of his blind son. However, we are shown through the course of the story, that it is the father’s lack of vision that causes problems for the rest of the family, and leads to the eventual tragic climax. While this film comes from a land known for its fables dealing with morality, gorgeous scenery, and natural acting overwhelm the audience to make this one of the best and most memorable foreign films. Visions of the countryside in

Besides the physical properties, the subject matter provides the audience what the work is about. In the case of the film, Majidi elaborates on the situation of Iranian politics. On screen, fictional characters cannot touch each other; therefore, there was not one scene where they had the adults ever making contact. However, children were used to overcome these limitation and censorships. Working with children and non-professionals followed the Italian neorealist, because they have no preconceived notions of how they should be acting. They play in the films the way they act in real life. On the other hand, with actors, they have to learn being someone else. Once again, going back to Italian neorealist, there are several shots of faces, exemplifying the humanistic traits of the film.

A particular scene that comes to mind is Mohammad seeing by feeling the flowers, which provides a picture with such clarity that enables the viewer to almost touch it. This idea correlates with the use of nature as a backdrop for scenes, since it allows the audiences to become engrossed into the moment. Following the Italian neorealist criteria, filming was also done on location. This provided Majidi with the stunning visuals that have become a cornerstone for the film. As a result, Majidi’s neorealist influences ultimately functioned as a visual feast for eyes of the viewer.

which the story unfolds leave no doubt as

Some topics in this essay:
Color Paradise, Gogh Majidi, , Van Gogh’s, Night Majidi’s, italian neorealist, physical properties, art film, Majid Majidi, physical properties subject, properties subject, majidi’s film, formal properties, van gogh’s,