The White Balloon
Why this pick
Panahi’s earlier child’s-eye Tehran odyssey shares The Mirror’s alert street-level realism, patient encounters with strangers, and the poignant tension between a child’s simple goal and an unpredictable city.
A FILM WORTH A CLOSER LOOKTHE FEATURE PRESENTATION
IF THIS ONE STAYED WITH YOU
Keep the feeling.
SIMILAR PICKS / A PERSONAL CONNECTION
Why this pick
Panahi’s earlier child’s-eye Tehran odyssey shares The Mirror’s alert street-level realism, patient encounters with strangers, and the poignant tension between a child’s simple goal and an unpredictable city.
Why this pick
A child’s determined journey through everyday obstacles is rendered with the same humane observation, pared-back suspense, and gradual transformation of an ordinary errand into a moral adventure.
Why this pick
Its porous boundary between lived experience and filmmaking makes it a particularly close companion: a direct, compassionate portrait of children navigating an adult world, with documentary-like immediacy.
Why this pick
Like The Mirror, it builds genuine momentum from a child’s practical predicament, finding tenderness and social texture in Tehran’s streets without losing the child’s independent perspective.
Why this pick
Three spare, formally playful stories about girls and women use a similarly clear-eyed Iranian realism, where social rules press against personal freedom and small actions carry unusual weight.
Finding the atmosphere, tension and little details that made this one stay with you.
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01 / THE STORY
Mina, a first-grader, finds her mother has failed to pick her up from school. The movie is about her endeavor to find her way home amidst the noise, confusion and chaos of Tehran. Mina is dressed in school uniform (with a head scarf), has one arm in a cast and is holding a school bag in the other. She meets a lot of people on her way and most of them try to help her while others are surprisingly apathetic to her situation. Eventually, the movie takes a turn when the girl looks into the camera for the first time, breaking the fourth wall, and someone shouts from off-screen, "Mina, don't look into the camera!" The movie is a real-life capture of events thereon (or that is how it seems). Mina announces that she doesn't want to act in the movie any more and wants to go home. In the end she goes home after returning the microphone.
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