Demain est un jour important pour Amir. Il avait participé à un concours international d'architecture pour remporter le concours avec des entreprises étrangères. Sa femme, Tahereh , l'a suivi pour s'installer dans un environnement calme, mais ...
While plowing his field, a poor farmer, played by Parviz Sayyad, accidentally uncovers an ancient burial chamber loaded with gold artifacts. Realizing that the trove would somehow liberate him from his bumpkin existence, he brings pieces of it to a jeweler in the city. The jeweler, suspecting that the treasure is stolen, sells the pieces to a master fence.
Une avocate iranienne, traquée et privée du droit d'exercer, vit en recluse. Son mari, journaliste et opposant au régime islamiste, se cache dans le sud du pays. Contre une forte somme d'argent, ils tentent de fuir à l'étranger. Une agence de voyages prépare leur départ sous le couvert « légal » d'un accouchement difficile...
Noura (Leyla Zareh) is an attorney whose license has been revoked by the government, as her resultant attempts at escape meet with ever-mounting roadblocks. Evoking a sense of dread and despair, Rasoulof (himself officially constrained from making more films) constructs a fitting metaphor for the stultifying pressures faced by many in today’s Iran.
Hossein Rezai plays a local stonemason-turned-actor. Outside the set of a film in which he is acting, he makes a marriage proposal to his leading lady, a student named Tahereh, who was orphaned by an earthquake. Because he is poor and illiterate, the girl's family finds his offer insulting; the girl avoids him as a result. She continues evading him even when they are filming, as she seems to have trouble grasping the difference between her role in the film and her real-life self. The fictional couple takes part in what would be the filming of Life, and Nothing More....
Saeed, is an Iran–Iraq war victim who has headed to Germany for his eyesight treatment, comes across his sister, Leila, who has lived in Cologne with her husband and son, Jonas for many years. Saeed gets his sight back after the surgery and he is coped with the new and strange atmosphere around him. Saeed is getting ready to come back to Iran but everything goes wrong. Further examinations show that he suffers from leukemia. His disease has apparently resulted from chemical gases used in the war. When Saeed’s sister finds out about his disease, she tries to prevent any situation which will cause him stress, as the doctors advised. But Saeed becomes very ill when he watches the video of Iran’s leader Ayatollah Khomeini’s funeral which was recorded by his brother in law. So, they take him to the hospital and he dies there while doing chemotherapy. This happens while Saeed’s wife and his newly born baby are coming to Germany to meet him. The last scene of the film shows that the family of Saeed’s sister is going back to Iran with his wife.
Une veuve, Tara (Susan Taslimi), est sur le chemin de retour à sa cabane avec ses deux petits enfants (Golbahar Eslami, Ghorbanali Falahi). Toujours en chemin, elle entend que son grand-père est décédé. Sur la route, Tara voit passer un guerrier du temps ancien (Manouchehr Farid).
It is winter in Teheran. Lateef is 17. He works at a building construction site managed by MEMAR, the site foreman. Lateef's job is to serve tea and prepare food for the workers with whom he is always quarrelling. The workers come from all parts of Iran, particularly from Iranian Azerbaijan (Azeris are referred as "Turks" in the film). Some workers are Afghan refugees from war-torn Afghanistan. They have no identity cards and are employed illegally as cheap labour. When the labour inspectors show up, the Afghan workers must hide.
The film is about a young boy from Khuzestan province, in the south of Iran, during the Iran–Iraq War. His parents are killed in a bombing raid on his home village and he escapes on a cargo truck to the north. Eventually he gets off and finds refuge on the farm of a Gilaki woman, Na'i, who has two young children of her own. Initially, Na'i tries to shoo Bashu away, but later takes pity on him and leaves food out for him. Although Na'i is initially ambivalent toward Bashu, and he is initially suspicious of her, they come to trust one another, and Bashu becomes a member of the family, even calling Na'i "mom". Being that Bashu speaks Arabic, while Na'i and her children speak Gilaki, they have trouble communicating with each other, although Bashu is able to speak and read Persian (for example in the scene where he picks up the school text book, reading a passage from it in an attempt to appease the children fighting). In a gesture of reciprocation and perhaps love, Bashu cares for Na'i when she falls ill, as she had done for him, crying for her and beating a drum in prayer.
Bodyguard est l'histoire d'un homme d'âge moyen qui protège des personnalités politiques de haut rang. Il a des ennuis quand un terroriste portant un gilet explosif s'approche du vice-président. Le réalisateur du film a déclaré « quelques motifs dans Bodyguard rappellent le succès en 1999 de L'Agence de verre ».
La petite Bahar vit une vie issue du folklore et des histoires, toujours la tête dans un livre. Mais, grandissant à Yazd dans les années 1970 et 1980, elle est au centre d'un pays en pleine tourmente : le chah est renversé, l'ayatollah Khomeiny prend le pouvoir et les premiers coups de feu sont tirés dans une guerre acharnée et prolongée contre l'Irak. Pendant plusieurs années, Bahar découvre que rêver dans son propre monde imaginaire est la seule façon pour elle de donner un sens à la douleur et à la souffrance infligées par les humains en guerre.
C'est l'hiver raconte des histoires croisées d'hommes au chômage en Iran, et contraints au départ afin de trouver du travail. Le film raconte l'histoire d'un homme qui perd son travail, part à l'étranger et laisse sa femme seule avec leur enfant. L'homme tarde à donner des nouvelles et pendant ce temps sa femme se dirige vers un autre homme en transit, un mécanicien venu travailler dans la région.