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The Mirror is a iranien film of genre Drama directed by Jafar Panahi released in USA on 25 november 1998 with Aida Mohammadkhani
The Mirror (1997)
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Add to a movie listThe Mirror (Persian: آینه Ayneh) is a 1997 Iranian film directed by Jafar Panahi, about a little girl trying to find her way home from school.
Synopsis
Mina, a first-grader, finds her mother has failed to pick her up from school. The movie is about her endeavor to find her way home amidst the noise, confusion and chaos of Tehran. Mina is dressed in school uniform (with a head scarf), has one arm in a cast and is holding a school bag in the other. She meets a lot of people on her way and most of them try to help her while others are surprisingly apathetic to her situation. Eventually, the movie takes a turn when the girl looks into the camera for the first time, breaking the fourth wall, and someone shouts from off-screen, "Mina, don't look into the camera!" The movie is a real life capture of events thereon (or that is how it seems). Mina announces that she doesn't want to act in the movie any more and wants to go home. In the end she goes home after returning the microphone.Actors
Aida Mohammadkhani
(Mina)
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Suggestions of similar film to The Mirror
There are 0 films with the same actors, 8 films with the same director, 61631 with the same cinematographic genres, to have finally 70 suggestions of similar films.If you liked The Mirror, you will probably like those similar films :
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Origin Iran
Genres Drama
Themes Feminist films, Pregnancy films, Political films
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Rating73%
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, 1h25Directed by Jafar Panahi
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Genres Drama
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It is the eve of the Iranian New Year. The film opens in a Teheran market where seven-year-old Razieh (Aida Mohammadkhani) and her mother are shopping. Razieh sees a goldfish in a shop and begins to nag her hurrying mother to buy it for the festivities instead of the skinny ones in her family's pond at home. Almost all of the film's major characters are briefly seen in this market scene, though they won't be introduced to the viewer until later. On their way home, mother and daughter pass a courtyard where a crowd of men has gathered to watch two snake charmers. Razieh wants to see what is happening but her mother pulls her daughter away, telling her that it is not good for her to watch these things.
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, 1h37Directed by Jafar Panahi
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The movie opens with a scene inside a jeweler’s shop, which the main character, Hussein, appears to be attempting to rob. Hussein tries to force The Jeweler, to give him the key to the safe at gunpoint. The Jeweler refuses, and manages to trigger the alarm. Hussein then shoots The Jeweler, and, after some deliberation, takes his own life as well. The rest of the movie proceeds to tell Hussein’s story.
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, 1h28Directed by Jafar Panahi
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Genres Drama, Comedy, Comedy-drama, Documentary
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An unnamed screenwriter (Kambozia Partovi) arrives at a secluded three-story villa on the Caspian Sea. He secretly brings along his pet dog named "Boy". Dogs are considered unclean under Islamic rule and the writer intends to hide "Boy" from authorities as he tries to get some writing done. The writer shaves his head to disguise his identity and covers all the windows in the villa with black, opaque material.
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, 1h22Directed by Jafar Panahi
Origin Iran
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Themes Prison films, Transport films, Films about the labor movement, Films about automobiles, Films about capital punishment, Road movies
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Rating72%
Le réalisateur Jafar Panahi, se faisant passer pour un chauffeur du nom d'Aghayé Panahi (en persan : آقای پناهی, Mr. Panahi) se trouve au volant d’un taxi partagé dans la capitale iranienne de Téhéran dans lequel il a installé une caméra. Cette caméra filme une succession d’archétypes iraniens variés qui prennent tous place à bord du taxi, les personnages étant plus ou moins conscients du stratagème orchestré par le cinéaste. Hommes ou femmes, jeunes ou vieux, riches ou pauvres, traditionalistes ou modernistes, aussi bien vendeur de vidéos pirates que défenseur des droits de l'homme, tous se retrouvent tour à tour dans le véhicule. Chaque personnage propose un portrait iranien spécifique et est également porteur d’un thème de société. Le film se termine par le vol de la caméra du taxi.
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