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Jafar Panahi: Cinema In Rebellion

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See an inside view of life in Iran with a complete retrospective of features from master filmmaker Jafar Panahi, one of world cinema’s most fearless and acclaimed filmmakers. 

Retrospective Package
See all 10 films for just $17 each
Jafar Panahi Biography
Introduction by curator Anke Leweke
3 Faces
Panahi and actress Behnaz Jafari play themselves on an urgent, meta-fictional road trip that reveals the divide between rural and urban Iran. Best Screenplay, Cannes 2018.
The Circle
Interconnected vignettes capture a day in the life of different young women in Tehran as they push back against the restrictions imposed on their sex. Golden Lion, Venice 2000.
Closed Curtain
Panahi’s second film made under his “ban” melds a fugitive tale with his own fight against melancholy and the regime that would silence him. Silver Bear for Best Script, Berlinale 2013.
Crimson Gold
Inspired by a real event, this neorealist film noir works backwards from a jewel heist gone wrong to expose social inequity in Iran. Un Certain Regard jury prize, Cannes 2003.
The Mirror
A young girl’s trip home takes a surprising turn. Panahi’s first film to blend fiction with reality – hereafter a signature of his work – won the Golden Leopard at Locarno 1997.
No Bears
This courageous and sophisticated meta-fiction reflects on art, creativity, and borders that can’t be crossed, both geographical and mental. Special Jury Prize, Venice 2022.
Offside
A football film in which the viewers aren’t allowed to see the match. Nor are the football-mad girls at the heart of this rousing yet comedic Berlin Grand Jury Prize-winner.
Tehran Taxi
In this daring work of guerilla filmmaking, Panahi takes viewers on a comedic but revealing taxi ride through contemporary Tehran. Golden Bear winner, Berlinale 2015.
This is Not a Film
A defiant but ever-witty Panahi, recently banned from filmmaking, sets out to redefine the concept of the “home movie”. A radical and passionate gesture of faith in cinema.
The White Balloon
A girl’s trip to buy a goldfish becomes an odyssey in Panahi's Cannes-awarded 1995 directorial debut, which cloaks social critique in the guise of a “children's film”.
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