Baran (2001)



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Titolo originale: Baran–>
Genere: Drammatico, Romantico–>
Durata: 94–>
Nazione: Iran–>
Regia:

  • Majid Majidi

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Scritto da:

  • Majid Majidi

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Produzione:

  • Majid Majidi (regista)
  • Fouad Nahas (regista)

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Musiche:

  • Ahmad Pezhman

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Trama del film:

Young Lateef works on a construction site in Tehran with some Kurds and a few illegal Afghan workers. When Lateef is given heavier tasks to compensate for new Afghan worker Rahmat, he resents his displacement and treats Rahmat cruelly. After one of his pranks, however, Lateef discovers Rahmat's secret–he is a girl named Baran. Latif's heart softens towards Baran and he shows his new affection for her by doing what he can to ease the hardships she suffers at work. When government inspectors force all Afghans to be fired from the site, Lateef discovers he cannot bear to be without her. Jeopardizing social standing and endangering his own well being, Lateef stops at nothing to save his love. Written by Anonymous

In Iran, when the illegal Afghan worker Najaf (Gholam Ali Bakhshi) breaks his foot in an accident in a construction of a building, his fragile son Rahmat becomes his replacement. The master Memar (Mohammad Amir Naji) makes Rahmat responsible for feeding the worker, and brings the young Lattef (Hossein Abedini), who was responsible for this task, to the heavy work. Latted becomes jealous of Rahmat, and spends a cruel treatment to him. However, when Lateef finds that Rahmar is indeed a girl called Baran (Zahra Bahrami), he falls in love for her and spends all his savings and gives his best efforts to protect her family and her. Written by Claudio Carvalho, Rio de Janeiro, Brazil

At a construction site in Tehran, Afghan refugees provide cheap labor. When Najaf, an Afgan widower, breaks his foot in a fall, he dresses his teen daughter Baran as a man and sends her in his place. Memar, the avuncular foreman, sees that this "lad" is too weak to carry bags of cement, so he gives Baran's job to his tea boy, Lateef, and gives her Lateef's easy assignment. Lateef is furious with Baran, but when he discovers her secrets–that she is a young woman and the sole bread-winner of a large family–he discovers within himself more noble and empathic impulses. His transformation and actions become the film's center. Written by <[email protected]>

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1 Comment

  1.  

    Howard Schumann said

    February 27 2012 @ 19:19

    `Don’t you go letting life harden your heart . . . we can let the
    circumstances of our lives harden us so that we become increasingly
    resentful and afraid, or we can let them soften us and make us kinder. We
    always have the choice.’ …The Dalai Lama

    Baran is the latest film from the director of Children of Heaven and Color
    of Paradise. It has strong appeal because of the natural performances of its
    non-professional actors, its well-drawn characters, and its message of the
    transforming power of generosity. Like Kandahar, our attention is drawn to
    the desperate plight of the Afghan people.

    Baran begins with a note about the reality of the 1.4 million refugees from
    Afghanistan living in Iran, a number that has probably increased
    substantially since September 11th. Some are of the current generation that
    was born in Iran and have never set foot in Afghanistan; others have
    recently fled from Taliban oppression and long to return home. Afghans are
    forbidden to hold jobs by Iranian law and must work illegally, usually in
    unskilled heavy labor jobs.

    Shot in the style of the Italian Neo-Realists (realistic stories told
    against real backgrounds with sometimes non-professional casts), Baran has a
    tone of drabness, only occasionally interrupted with bursts of color. At a
    construction site in Northern Tehran, Memar (Mohammad Amir Naji) employs a
    large number of Afghans to work along side of Turks and Iranians. This film
    shows a microcosm of the blue-collar working class in today’s Tehran. Many
    languages are spoken and the film sheds some light on the variety of ethnic
    groups present in Iran. In spite of some harsh treatment of workers Memar
    has moments of generosity and humor, and his outwardly harsh exterior seems
    to mask a genuine sympathy for the workers.

    A 17 year old Iranian tea boy, Latif (Hossein Abedini), an Iranian Azeri,
    feels his job is threatened by a new worker Rahmat (Zahra Bahrami) who comes
    to work when his father is injured on the job. Rahmat has difficulty
    performing construction tasks and is moved to the kitchen to prepare and
    serve the tea, essentially switching jobs with Latif. Latif, short tempered
    to begin with, now takes out after Rahmat, intent on getting revenge,
    leading to a series of slapstick encounters that are almost Chaplinesque in
    tone.

    After Latif discovers Rahmat’s secret (he is a she named "Baran"), the film
    is devoted to his transformation from a selfish wise guy to a caring and
    surprisingly generous young man. The film becomes a series of encounters in
    which Latif, infatuated with Rahmat, secretly tries to help her in any way
    possible, donating his entire savings to her family and involving himself in
    protecting her from the hands of inspectors looking for illegal immigrants.

    Though I found Baran to be, at times, somewhat repetitious and dramatically
    weak (it doesn’t help that Latif and Rahmat never interact), it is a
    humanistic film, full of warmth and humor. Though a film about dehumanizing
    working conditions, its true focus is the emotional awakening of a young man
    who has discovered his own self worth through the act of kindness to
    another, perhaps symbolizing the discovery of the plight of Afghans by the
    Western world. Baran (also translated as "Rain", the symbol for springtime)
    builds to a poignant climax, leaving Latif with the wistful image of a
    footstep in rain-splattered mud, an image that may remain with him as a
    constant inspiration for future self-sacrifice.

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