Hellen I like the storyline of this show,it attract me so much

Baseshment I like movies that are aware of what they are selling... without [any] greater aspirations than to make people laugh and that's it.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

Sheroz Aziz You will find some similarities in majid majidi's each films that are man is attached with nature sometimes its rain sometimes ostrich and sparrows and other times its tress.This was one of Iranian and majidi's best film when the teacher is blind He loves inner beauty and feel nature and when He gets his eyes vision which is not transitory.He first fall in love with a girl who has a outer beauty and tires to leave her mom and wife back who cared his 38 years life.Then he finds some distress like poverty when he comes by a shop and watch a poor baby then he see a guy who is spending his life on risk by doing pick pocket.its better to not to have vision when world has such distress and misfortunewe'll have to thank him for what he as given us because when he doesn't, there are some reasons behind it.

DICK STEEL Sometimes God works in mysterious ways, and us mortal man have absolutely no idea what to make of it, opting for the most parts to blame the big guy when things don't go our way, only to find out that the fault lies in ourselves. No, I'm not suddenly pious and wanting to spread the word, but Majid Majidi's The Willow Tree evoked such a feeling and reminder to myself, that it's always so easy to blame "somebody else", even though that someone could be the guy up there.I haven't seen much of Majid Majidi's works, but from what I have in just Children of Heaven, and now The Willow Tree, I can't wait to watch a whole lot more. The stories might seem simple - few key characters (lovable too I might add), gorgeously shot, and you might think you have the plot all wrapped up, there's always this beauty in the simplicity of it all, and its powerful underlying message ever so subtle, in no way sledge-hammering itself on you at all. Somehow I feel that there's so much enveloping the movie, that I'm simply amazed at how they are all packaged together in a nicely paced movie, without the need to be butt- numbing.Youssef (Parviz Parastui) is a blind university professor, who spends his time playing with his young daughter, and has his wife assist him with his work. From the onset, it's a happy little family, except that Youssef has a dream, that he could one day regain his sight and see again. Sometimes I wonder if able folks like us take things for granted naturally, and if only we lose it, do we start appreciating and missing something at all. Majid has for the first minute placed us in Youssef's shoes, and listening to his innermost thoughts and dreams, one ponders.While faith is important, and I would think if I were in Youssef's shoes, I would also choose to turn to religion as a pillar of strength, there's this little warning of being careful with what you wish for, as sometimes, what you think is best for yourself, isn't true at all. If you made promises to the big man, make sure you can fulfill those promises, and not let it ring empty. We follow Youssef's journey and understand his fears, frustrations and hopes, coupled with his fall from grace and redemption. The Willow Tree leaves things wide open, but you can only hope for the best. I like the way how Youssef is forced to choose, and I actually felt pity for the guy as he loses himself, like the saying goes, because of his straying eye. I wonder too, if our gift of sight somehow will sometimes be the attributing factor, or seed the beginnings of mistrust, just because our eye sees something that our minds interpret differently, or fantasize.And the movie couldn't work without the excellent soundtrack, or the commanding performance by the lead Parviz Parastui. He has one one hand made Youssef a likable fellow, yet managed in the same movie to make us despise his actions, with a tinge of pity, and at times, just wanting to slap him out of his arrogance. It's been a long while since I actually cared for a character, and want to reach out to him - as the bystanders usually have the better view of any situation - and to direct him, just as how you would a blind person, to avoid the pitfalls that seem set to dawn on him.At another level, The Willow Tree has indeed opened my eyes to more of Iran, instead of those ra-ra sanctions filled news bulletins demonizing the country as a whole. I thought that through film, I see a little more of a country caught on celluloid, depicting the same hopes, dreams, and even challenges that folks in the country grapple with too. And with such intelligent stories from their filmmakers, you wonder about their rich culture, and also realize that you don't need big sets and big moments to create an impact - the little things in life that you can put into stories to tell, work just as majestically.

ramesh ramakrishnan iyer A very good movie. The actors and the director have done an awesome job. The photography is pure poetry. The places and the locations are very evocative. The story is very deep. It makes you see the world with totally different eyes. A simple plot of a blind man regaining his sight is turned into into a masterpiece of emotions. Some scenes in the movie are really powerful and are there to stay within you, deep inside. Yusef the hero of the film is a strong character. Depite his blindness, as a professor he has done a lot and won the respect and the hearts of the people. But when he gets his sights back the world around him is totally different and he struggles even more. He is not able to cope with what he sees and his image of his wife and the family and his mother all confuse him. He finds his friends wife attractive and becomes obsessed with meeting her and hearing her voice etc. The scenes depicting Yusef's desires and the confusion are a marvel in direction and acting. There are some over dramatic elements in this movie that could have been avoided but even those scenes have a point in touching the viewer a bit deep and making the point. All in All a superb film. Makes one wonder

Carl Cinema began as a purely visual medium. The shock and fright that the Lumière brothers caused in their virgin audience came about because seeing the world through the lens of a camera is like seeing for the first time—witness Dziga Vertov's 1929 paean to the new medium, Man With a Movie Camera, and you get a sense of this fascination. Thus, film is perfectly suited to director Majid Majidi's exploration in The Willow Tree of a blind man regaining his sight. After a quietly foreboding passage of voice-over, the movie opens its eyes on a scene of sylvan innocence, with a father and his young daughter racing sticks down a stream. We soon learn that the father, Youssef, a university professor, is blind. At home, his wife, Roya, sits and translates pages of texts into Braille for him. When he sits down to read them in his courtyard, a sudden gust of wind blows them away and Roya has to scramble across the garden to retrieve them, while Youssef grasps desperately at whatever he can feel near him. He is cared for, he is loved, and loves in return but we are given a sense of his dependence, his powerlessness in the face of nature's occasional rushes. Having flown to Paris to treat a possible cancer under his eye, he undergoes a cornea transplant that should restore his sight, which he lost when he was 8 years old. In a tremulously powerful section of the movie, Youssef impatiently peels back the padding around his eyes to the shocking sensation of light. Still with the carefully lifted feet of a blind man, he pads excitedly into the hospital corridor as a single tear of blood falls from his still- scarred eyes. It is a moment of subtle horror—after all, a new sense is terrifying. The Willow Tree is unrelenting cinema. It challenges our notion of perception and gives us the visceral rush of seeing as though for the first time. When Youssef returns to Iran he is greeted by a crowd of family and friends. In a scene that will stay with me for a very long time, the soundtrack drops away as Youssef looks at these faces without recognition—which one is Roya? Is it the beautiful young woman with the video camera? Youssef hopes so. And there is the tragedy—with all this renewed sensation, the reference points of the past need to be realigned, the world which satisfies the other senses might not satisfy the eyes, and in that moment at the airport, Majidi brings to bear both the revelatory joy of the new and the plummeting realisation of how much was lacking before. As Youssef, Parviz Parastui is astonishing. It is his performance, as well as that of Afarin Obeisi as his mother, that lifts The Willow Tree above anyone reproaching it with sentimentality. It is a deeply religious film, in the best sense of the word—a moral fable that is not moralistic.