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1
It Was Just an Accident (2025)
7.4/10on IMDb
Released
A routine encounter at a garage leaves a former prisoner wondering whether he recognises his torturer. Jafar Panahi turns the decision to pursue that suspicion into a tense argument about proof, memory and revenge. The uneasy humour matters: people remain inconveniently human even when everyone wants a clean moral answer. Expect distressing accounts of imprisonment.
2
A Separation (2011)
8.3/10on IMDb
Released
Hiring someone to care for an elderly father seems a practical response to a marriage breaking apart. Farhadi makes that arrangement the meeting point of incompatible duties, unequal resources and things people cannot bring themselves to say. Notice how a seemingly settled account changes when another person speaks. The suspense comes from understanding more, rather than finding a convenient villain.
3
About Elly (2009)
7.9/10on IMDb
Released
Inviting a teacher on a seaside weekend looks like harmless matchmaking. Once a crisis disrupts the holiday, the little explanations used to smooth that invitation become much harder to withdraw. The ensemble lets affection, embarrassment and self-protection occupy the same conversation. Go in knowing as little as possible; the uncertainty is more revealing than a neat answer would be.
4
The Salesman (2016)
7.7/10on IMDb
Released
Accepting a new flat after an evacuation puts a couple inside somebody else's unresolved history. Emad's later choices make the film particularly uncomfortable: his desire to act can leave less room for Rana to decide what she needs. Their theatre work adds another layer to the roles they perform at home. Sexual assault shapes the story, although the attack is not staged for spectacle.
5
Fireworks Wednesday (2006)
7.6/10on IMDb
Released
A cleaner takes a day's work and is drawn into a couple's suspicions, carrying messages whose implications she cannot fully know. Her position makes the household's private arguments feel both intimate and precarious. Choose this for the way Farhadi lets a favour change meaning depending on who requested it. The fireworks outside give the domestic volatility a restless rhythm.
6
Close-Up (1990)
8.2/10on IMDb
Released
A man allows a stranger to believe he is a celebrated director, and a moment of borrowed importance acquires real consequences. Kiarostami brings the people involved into courtroom footage and reconstructions of their own encounters. The fascination lies in listening past the deception to the longing beneath it. Its shifting documentary form asks you to examine the act of judging, too.
7
Where Is The Friend's House? (1987)
8.1/10on IMDb
Released
A schoolboy decides that returning a classmate's misplaced notebook cannot wait. Adults see a minor errand; he sees the punishment another child might receive. That difference gives the winding walk an urgency an action film would envy. This earlier exception is an inviting start because the task is clear, while the quiet demand to take someone else's problem seriously keeps expanding.
8
The White Balloon (1995)
7.6/10on IMDb
Released
Wanting a particular goldfish sends a little girl into a chain of negotiations she is not yet equipped to manage. A single banknote becomes a measure of trust between strangers, and the pavement offers an absorbing view of the city. Panahi keeps the child's priorities intact instead of turning her into a miniature adult. The resulting tension is lively, funny and unusually attentive to who gets overlooked.
9
A Hero (2021)
7.5/10on IMDb
Released
A debtor on temporary leave tries to improve his position through an act that can be publicly understood as decent. The difficulty is what happens when a complicated person must keep fitting the reassuring story others want to tell. Farhadi makes reputation feel like a set of fresh obligations. Follow the small qualifications in each retelling, rather than trying to award the title to someone.
10
No Bears (2022)
7.3/10on IMDb
Released
A filmmaker staying near a border is asked whether his camera has recorded something that matters to a local dispute. The apparently simple question places him inside rules he does not control. Panahi's fictional self is no magically detached observer: looking and recording have consequences. The film's dry wit gradually gives way to a much harsher awareness of other people's exposure.
