70
New Times (L.A.) by Andy Klein
If the performances are the prime reason the film is as engaging as it is, it must also be said that Majidi's visual style seems far more sophisticated than in "Children of Heaven."
What are people saying?
What are critics saying?
90
The New York Times by Dana Stevens
The lovely clarity of this story, which seems to have been drawn from the literature of an earlier age, is well served by the artful subtlety of the telling. Mr. Majidi prefers imagery to exposition, and his shots are as dense with meaning, and as readily accessible, as Dutch paintings.
90
Washington Post by Desson Thomson
As in Chaplin's films, humor and tragedy dance a wonderful tango throughout the movie. Baran is heartbreaking and laugh-out-loud funny, sometimes apart, sometimes together.
100
Simple, but loaded. It celebrates the humanity and humanism at the heart of Iran's remarkable flow of films, but it's also more of a rebuke to materialistic values than any ideologue could ever hope to be.
88
Charlotte Observer by Lawrence Toppman
The director lingers over images, watching builders at work or Baran at her chores; the camera often seems to daydream, like Lateef. No grand climax caps the film, but the small incidents have a cumulative effect.
30
Village Voice by Michael Atkinson
Remains simplistic and gimmicky in the context of Iranian cinema.
75
San Francisco Chronicle by Mick LaSalle
Can and should be appreciated as a work of delicate and unmistakable beauty.
90
New York Magazine (Vulture) by Peter Rainer
It's an elliptical tragedy in which the fate of its characters takes on a larger significance while never losing its intimacy.
75
Portland Oregonian by Shawn Levy
The film is filled with fascinating, static set-ups, beautiful but never fussy or artificial.
80
Despite its mawkish tendencies, the film is remarkable for the naturalistic acting of its cast, particularly the simple, tenderly expressive performances of the two leads.