The Little Man

Mamal, a poor village boy, tends a small garden to help his mother while his father works abroad, juggling his responsibilities at home and at school. Like much recent Iranian cinema, this modest 1998 effort by Ebrahim Frozesh draws a sensitive portrait of a resilient child, detailing with quiet craft and considerable affection his perseverance in the face of misunderstanding, embarrassment, and capricious weather. The film's occasional sermons on obedience and conformity are leavened by its sincerity and its sympathy toward the characters' arduous way of life.

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