Bacheha-ye aseman

Majid Majidi's Bacheha-Ye Aseman is a fascinating and deeply moving piece. It is a children movie which will be equally enjoyed by adults, and that's simply because it will take any adult back to their childhood days, back to the days when they did something wrong and were afraid to confess to their parents. The film was made with great simplicity and soul, and its impact is perfectly made through the characters of Ali and Zahra, two amazing kids who can set an example to anyone. Majidi brilliantly captures the world of these young golden-hearted creatures. They are smart, intelligent, innocent, respectful and caring. It's quite impressive to see how little kids pay respect to their seniors, what moral values they have, and their tender care for their parents' economic status and daily struggle is particularly moving. More than anything, it is their own sibling relationship which tugs at the heartstrings. Majidi's portrayal of the neighbourhood, the school where the kids study, and their own home, is most lifelike and authentic. Without a doubt, the script is the film's main winner, but the casting is one of the film's biggest strengths. Amir Farrokh Hashemian and Bahare Seddiqi are astonishing in their roles - charming, convincing, heartbreaking and totally relatable. You really feel for these kids and really want to settle their problems so that they can move on. This film is a true example of superb acting by child artists, and it shows how far they can go in their ability to explore the innocent spirit of childhood. Bacheha-Ye Aseman is a wonderful cinematic experience, which must not be missed by anyone. Just go and grab your seat, I assure it will keep you on the edge of it for one hour and a half and will be engraved in your heart long afterwards.

A realistic and sincere story. Actors and performances are very successful. The mercy of children warms the heart. It was one of the loveliest movies I've seen.

I find it most difficult and awkward to make comment on films that I personally do not like. That is why I could talk for days about this wonderful Oscar Submission!

Children Of Heaven is one of those rare films that not only I want to talk about, but everyone else who has seen it seems to be raving about. This tender and triumphant little jewel of a film had every head turning at the recent 1999 Nortel Palm Springs International Film Festival, January 7th-18th. After it's first showing at the festival, people were indeed talking!

"Did you see that film from Iran?" "No, any good?" "Just wait, go see it, we'll talk later!"

The Children Of Heaven follows the relationship between an impoverished brother and sister, Ali and Zahra, who are thrust into a difficult circumstance all revolving around a pair of sneakers. How they choose to solve their problem themselves, without telling their parents, is what makes the story so heart-warming and unique. What follows is a tender, moving tale of compassion, determination, and deep family love.

Bravo writer/director Majid Majidi!

This film is not to be considered as more a novelty of an exotic country, as many productions of the third world are. Actually, it's superior to the smashing majority of the American films. It is touching in its simplicity, true in the feelings that it focuses, blinding in the sublime form as it approaches, starting from the simple story of a poor Iranian child, such universal subjects. Just extraordinary.

Majid Majidi's Children of Heaven is such an extraordinary work of movie-making that it is in a realm of movies that are able to connect with anyone who remembers (or is amidst) their childhood, regardless of what country they come from. (Note: Films that have a universal appeal aren't necessarily better than films that only appeal to people from one or two countries, but making a film with a universal appeal is no easy task.) A boy named Ali (Amir Farrokh Hashemian) loses his sister Zahra's ((Bahare Seddiqi) running shoes; Zahra threatens to tell their father (Mohammad Amir Naji). Petrified at his father's temper, Ali promises his sister that he will get his sister some new shoes as soon as possible. In the meantime, the two work out a tight shoe-switching schedule. The plot is inventive and provides some decent chuckles-good writing and comic timing. Hashemian is likable and relatable though he milks the babyish whimpering to an annoying extent. Naji is able to give us a stronger feeling that we are watching a real person on screen than any of the other actors in the film. It is not until the last ten minutes of the film, however, that we are swept up in a crazy whirlwind of emotion, jolting from despair to joy to suspense (though not in that order) and the last ten minutes can make a movie great. Majidi gives us homage to The Four Hundred Blows. The ending to Majidi's movie is somewhat similar to that of Francois Truffaut's; both movies contain the feeling of extreme desperation, but Ali has a goal in his life while Antoine Doinel (Jean-Pierre Léaud) is boldly going nowhere. Truffaut's film concludes with brilliant ambiguity, leaving us wondering whether Doinel's last five minutes on screen were triumphant or pathetic; Majidi does something quite similar (less ambitiously) in a way I would not dream of revealing.