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BARAN Send This Review to a Friend
Among my favorite films at the Toronto International Film Festival (2001) was the Iranian "Baran" by the superb director, Majid Majidi, who has given us such past gems as "Children of Heaven" and "The Color of Paradise." In the movingly understated and convincingly acted "Baran" writer-director Majidi reveals the plight of Afghan refugees through the perspective of a young Iranian teenager named Lateef, played with a mix of innocence and mischief by attractive Hossein Abedini. He works at a construction site where Afghan workers are employed illegally. Memar, the boss (Mohammad Amir Naji), on the one hand extends kindness but also only doles out wages gradually. He worries that the money will be squandered if in a large sum.
In addition to being a poignant and powerful insight into the fragile existence of the displaced, "Baran" is a delicate love story that develops between Lateef and a beautiful, mysterious young girl told mainly through eye contact rather than dialogue or physical involvement. It is also a tale of Lateef's growth as a human being and of his ability to sacrifice without wanting recognition for his deeds. Other strong performances are by Zahra Bahrami as Rahmat and Hossein Mahjoub Rahimi as Soltan.
This is a rare and sensitive work that adds to the growing reputation of Iranian cinema. What makes the film so potent is the delicacy with which the director approaches his story and his efficiency in following the central characters and the simple plot. Also going for "Baran" is its timeliness. I first saw the film in Toronto just before the attacks on the Trade Towers in New York and the Pentagon. Afghanistan was soon thrust into the public consciousness and "Baran" cast light on one aspect of its refugee problem that had already been a given.
Here is a film that merges artistry with topicality and it stands as one of the year's best and important works. A Miramax Films release.
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