The Brick and the Mirror

Ebrahim Golestan's 1966 Iranian film opens with Hashem driving a taxi at night. After dropping off a woman he finds an infant on the back seat; unable to find her, he takes the child home, and a long argument begins between him and his girlfriend Taji. The film places that argument at the centre. Taji wants to keep the child and Hashem wants to be rid of it; the narrative vindicates neither and gives the conversation at close to real length. Golestan also worked as writer and producer; with its long takes, night shooting and dialogue far from the theatrical, the film stood apart from the Iranian cinema of its time and has since been counted among the forerunners of the new wave. The scenes in state offices take aim directly at bureaucracy. Who it's for: those who like the history of Iranian cinema and slow narrative. Who it's not for: viewers expecting pace; the film is built on long conversations and scenes of waiting.