Misagh Zare is Iman, a newly promoted “investigator” for the Iranian government in the early days of the Women, Life, Freedom rebellion. Iman’s handgun goes missing, and it could only have been taken by one of his family members. His wife Najmeh (Soheila Golestani) proclaims innocence, as do his daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki). As the strife in the streets ratchets up, so do Iman’s anger and paranoia. With every passing moment, the women in his life grow more afraid—and yet none of them will confess…
The latest from Mohammad Rasoulof (There Is No Evil; A Man of Integrity) is a gripping metaphorical drama that triumphs on multiple levels: as a mystery, it’s tense and absorbing; as a portrait of family division, it’s moving; and as an act of political protest, it’s urgent and powerful. A subversive to his core, Rasoulof has paid a price for his art: sentenced to eight years in prison plus flogging, he now lives as an exile in Europe.
Mohammad Rasoulof
Misagh Zare, Soheila Golestani, Mahsa Rostami, Setareh Maleki, Niousha Akhshi, Reza Akhlaghi
Iran/France/Germany
2024
In Farsi with English subtitles
Special Prize, Cannes 2024; FIPRESCI Prize, Cannes 2024
Nominated: Best International Feature, Academy Awards
Book Tickets
Indigenous & Community Access
Indigenous Access Tickets Community Access Tickets Ticket Donation Requests
Credits
Producer
Mohammad Rasoulof, Amin Sadraei, Jean-Christophe Simon, Mani Tilgner, Rozita Hendijanian
Screenwriter
Mohammad Rasoulof
Cinematography
Pooyan Aghababaei
Editor
Andrew Bird
Production Design
Amir Panahifar
Original Music
Karzan Mahmood
Also Playing
Sinners
This year's unexpected box office sleeper is that rare beast, a genre movie full of bold invention and surprise. We are in Mississippi in the early 1930s, and the opening of a new blues joint on the edge of town is the signal for all hell to break out.
Wanda
Barbara Loden's vérité feminist masterpiece, a landmark in the history of women filmmakers -- and "the anti-Bonnie & Clyde". "Writer-director-actor Barbara Loden's 1970 feature has a wonderful, hard-won sense of everyday rapture," Chuck Bowen, Slant