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The Pear Tree
The Pear Tree
The Pear Tree
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The Pear Tree
Directed byDariush Mehrjui
Written byDariush Mehrjui
Goli Taraghi
Produced byDariush Mehrjui
StarringHomayoun Ershadi
Golshifteh Farahani
Mohammad Reza Shaban-Noori
Nematollah Gorji
CinematographyMahmoud Kalari
Release date
  • 1 October 1998 (1998-10-01)
Running time
95 min
CountryIran
LanguagePersian

The Pear Tree (Persian: درخت گلابی, romanized: Derakht-e-Golabi) is a 1998 Iranian drama film written and directed by Dariush Mehrjui with Homayoun Ershadi and Golshifteh Farahani in the lead. It was noted for the exemplary craftsmanship of Dariush Mehrjui on his examination of the Iranian bourgeoisie.[1] This film also marked the debut of actress Golshifteh Farahani.[2]

Synopsis

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Mahmoud (Homayoun Ershadi) is suffering from writer's block and he is unable to continue the book he is currently working upon. He decides to take a break from his routine life and plans to visit his family's rural estate that is situated at north of Tehran. He also intends to complete his book in this visit. While at the estate, Mahmoud's attention is brought to the old Pear Tree that is situated behind the estate by the old gardener of the estate (Nematollah Gorji). Seeing the Pear Tree, Mahmoud thinks about his past - his infatuation towards his 14-year-old female cousin known only as M (Golshifteh Farahani), his adolescent dreams, how that changed over the years. The rest of the film chronicles thoughts of Mahmoud and his past.

Cast

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Reception

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The Pear Tree was met with highly positive reviews and considered as a majestic inclination of internalization of Iranian Cinema.[3] This movie is usually considered as one of the finest example of Dariush Mehrjui's craftmanship.[4][5]

Awards

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Pear Tree

View on Grokipedia
from Grokipedia
The Pear Tree (Persian: Derakht-e Golabi) is a 1998 Iranian drama film written and directed by . Starring as the protagonist Mahmoud, a middle-aged intellectual and writer suffering from severe , the film explores themes of , , and the passage of time. makes her feature film debut as the young cousin who haunts Mahmoud's recollections, marking the start of her acclaimed international career. Set against the lush backdrop of a family estate outside , the narrative centers on Mahmoud's retreat to his childhood home, where an unproductive pear tree symbolizes his personal and creative stagnation, prompting vivid flashbacks to his awkward adolescence and an unrequited first love. Mehrjui, a pioneer of the cinema who was murdered in 2023, crafted a lyrical meditation on lost innocence and artistic frustration, blending introspective monologues with poetic visuals of nature and rural life. The film's by Mahmoud captures the golden hues of Iranian orchards and the subtle emotional undercurrents, earning it praise for its aesthetic depth and emotional resonance. Running at 95 minutes, The Pear Tree premiered at the 1998 , where it received critical acclaim for its sensitive portrayal of human vulnerability. The film garnered several international awards, including the Silver Hugo for Best Feature at the in 1998 and a Crystal Simorgh for Best Actress for Farahani at the Fajr Film Festival. also won a Crystal Simorgh for Best , highlighting the film's technical excellence. As one of Mehrjui's key works in a career spanning over 30 films and nearly 50 national and international accolades, The Pear Tree exemplifies his signature style of intellectual drama infused with social and psychological insight.

Development and production

Script and direction

Dariush Mehrjui served as both writer and director for The Pear Tree (1998), co-authoring the screenplay with Goli Taraghi based on her short story of the same name. As a pivotal figure in Iranian New Wave cinema, Mehrjui infused the film with themes of personal introspection and psychological exploration, drawing from his established interest in human consciousness and existential dilemmas evident in earlier works like Hamoun (1990). The project emerged in the late 1990s, following Mehrjui's feminist trilogy—Sara (1993), Pari (1995), and Leila (1996)—marking a shift toward more lyrical, memory-driven narratives in his post-revolutionary oeuvre. Mehrjui's directorial vision emphasized a contemplative approach, utilizing natural lighting and fluid to immerse viewers in the rural Iranian landscape and the protagonist's reminiscences. This style evoked the passage of time and emotional resonance, influenced by , particularly the introspective works of , whose exploration of regret and self-reflection paralleled Mehrjui's thematic concerns. In interviews, Mehrjui acknowledged Bergman's profound impact on his , noting how such influences shaped his use of subtle, character-focused over overt drama. Central to the screenplay is the metaphor of the pear tree, symbolizing unfulfilled potential and nostalgic longing, which triggers the writer's blocked memories and catalyzes his internal journey. Introduced early in the narrative, this motif underscores themes of loss and renewal, reflecting Mehrjui's intent to blend personal anecdote with universal philosophical . Through this element, the film transcends a simple adaptation, becoming a on life's impermanence rooted in Iranian literary traditions.

Casting

Homayoun Ershadi was selected for the lead role of Mahmoud, a middle-aged writer grappling with introspection and regret, shortly after his debut performance in Abbas Kiarostami's (1997), where he demonstrated a subtle, contemplative presence ideal for the character's psychological depth. Golshifteh Farahani, then 14 years old, made her feature debut as the young cousin M, chosen for her innate sense of innocence and freshness that aligned with the role's portrayal of youthful purity and emotional openness; this opportunity launched her prominent career in Iranian and international cinema. The supporting cast featured veteran actors Mohammad Reza Shaban-Noori as the family elder and Nematollah Gorji in a key secondary role, both drawn from Iran's established theater and community to bring authenticity to the rural dynamics.

Filming and technical aspects

Principal photography for The Pear Tree took place in 1998 in the rural areas near Damavand in northern , utilizing the natural landscapes of a estate to capture the film's themes of and isolation. The production leveraged the region's orchards and mountainous terrain for authenticity, with scenes emphasizing the pear tree as a central motif set against idyllic yet melancholic backdrops. Cinematographer Mahmoud Kalari employed 35mm to achieve warm, nostalgic tones that evoke the protagonist's memories, particularly through golden-hour that bathes the rural settings in a soft, autumnal glow symbolizing fleeting and . This approach, characterized by tracking shots, dissolves, and subtle soft focus, integrated seamlessly with the narrative's introspective pace, enhancing the visual poetry of the estate's gardens and orchards. Post-production, including editing, occurred in , where the film's minimalistic was developed to underscore themes of through ambient like through trees and distant echoes, complemented by a sparse score that avoids overt musical intrusion. As a low-budget independent production, it was supported by Iranian cultural institutions, reflecting the era's state-backed funding for art cinema amid constraints typical of post-revolutionary Iranian filmmaking.

Story and portrayal

Plot synopsis

The film opens with middle-aged writer Mahmoud arriving at his family's rural estate to combat a prolonged bout of , where he sits contemplatively under an old pear tree. This setting prompts a series of flashbacks to his childhood summers spent in the grand mansion, playing freely in the surrounding orchards with family members. In these memories, a young Mahmoud develops a secret with his tomboyish Mim, sharing moments of youthful adventure and amid the estate's lush grounds. As the narrative unfolds non-linearly, Mahmoud in the present reflects on the lost innocence of those days, his for Mim, her subsequent death, and the inexorable passage of time, while interactions with lingering family members surface long-buried tensions and regrets. The story builds to a resolution where Mahmoud gains partial inspiration for his writing from these recollections, yet he directly confronts the pear tree's barren state, symbolizing aspects of his own unfulfilled life, culminating in an ambiguous moment of quiet acceptance beneath its branches. Running 95 minutes, the film employs a non-linear that seamlessly blends present-day scenes with vivid past memories to trace Mahmoud's introspective journey.

Characters and performances

Mahmoud, portrayed by , is a tormented and successful grappling with profound and a six-year bout of , retreating to his childhood home where memories of lost opportunities surface to challenge his sense of self. Ershadi's performance, drawing from his non-professional background, excels in restrained , conveying the character's inner turmoil through subtle facial expressions and measured that underscore emotional authenticity without exaggeration. The enigmatic young cousin Mim, played by in her feature film debut at age 14, symbolizes Mahmoud's lost youth and unfulfilled passions, embodying a vulnerable and ethereal presence through sparse dialogue and natural, instinctive delivery. Farahani's portrayal radiates innocent allure, enhancing the film's nostalgic tone by contrasting Mahmoud's reflective melancholy with her character's playful vitality. Supporting figures further illuminate generational and philosophical contrasts; the family uncle, a retired military addicted to , serves as a voice of rigid , clashing with Mahmoud's introspective in interactions that highlight familial tensions. Similarly, the old gardener embodies practical, earthy concerns, persistently urging attention to the titular pear tree and underscoring the divide between intellectual pursuits and everyday realities. The interplay of Ershadi's disciplined restraint and Farahani's innate naturalism creates a dynamic emotional authenticity, deepening the exploration of and central to the narrative.

Release and response

Premiere and distribution

The Pear Tree had its world premiere at the in in February 1998. The 16th edition of the festival, running from February 1 to 11, provided the initial public screening of the film in its home country. In , the film enjoyed a starting in late 1998, primarily through distribution channels supported by state institutions, reflecting the controlled nature of cinema exhibition in the country at the time. Internationally, the rollout began with a screening at the later that year in October. Subsequent exports were modest, with the film appearing in select art-house theaters across and , often as part of curated programs focused on Iranian cinema. Home media options emerged in the years following its theatrical run, including DVD releases in during the that made the film accessible to domestic audiences beyond cinemas. By the , it gained further availability on global streaming services, such as MUBI, allowing broader international access to the work. In recent years, the film has continued to be screened at international retrospectives, including the in 2024 and the UCLA Celebration of Iranian Cinema in 2025.

Critical reception

The Pear Tree received positive critical acclaim upon its release, with an average rating of 7.4 out of 10 on based on over 1,800 user reviews. Critics frequently lauded the film as a pinnacle of director Dariush Mehrjui's exploration of the Iranian bourgeoisie, marking it as a sophisticated culmination of his thematic concerns. Reviewers praised the film's introspective pacing, which allows for a meditative reflection on and loss, drawing comparisons to Ingmar Bergman's Wild Strawberries for its contemplative depth. The visual poetry, achieved through lyrical dissolves, subjective tracking shots, and soft-focus , was highlighted as evoking a dreamlike immersion in the protagonist's past. Golshifteh Farahani's debut performance as the young Madiha was particularly commended for its innocent radiance and emotional authenticity, establishing her as a promising talent in Iranian cinema. In a tribute following Mehrjui's death, described it as "a lyrical, burnished memory film," underscoring its artistic merits in portraying regret and nostalgia. Some critics noted the slow tempo as potentially alienating for casual viewers, with the film's rudimentary style and visual clichés occasionally undermining its ambitions. Minor complaints arose regarding a lack of clear progression in resolving the protagonist's internal conflicts. Iranian outlets emphasized the film's cultural resonance, praising its poetic infusion of daily life with existential themes rooted in Iranian identity. International press, including coverage from the where it earned a Silver Hugo, highlighted its universal exploration of regret and human fragility. The awarded it three stars, appreciating its introspective Iranian perspective on personal reminiscence.

Awards and legacy

Festival accolades

At the 16th Fajr International Film Festival in 1998, The Pear Tree secured two Crystal Simorgh awards: one for , awarded to in her debut, and another for Best Cinematography, recognizing Mahmoud Kalari's evocative visual style that captured the film's introspective rural landscapes. The film also earned international recognition at the 34th later that year, where director received the Silver Hugo for Best Feature, highlighting the film's poignant exploration of memory and loss amid an eight-person jury led by . These festival wins marked a pivotal moment for the production; Farahani's accolade propelled her from theater to international stardom, establishing her as a leading talent in Iranian and global cinema. For Mehrjui, the Silver Hugo further solidified his reputation as a master of arthouse filmmaking, building on his prior successes like The Cow and Hamoun.

Cultural impact

The Pear Tree stands as a significant work within the Iranian New Wave, exemplifying director Dariush Mehrjui's post-1979 Revolution explorations of urban-rural divides and the intricacies of the personal psyche amid societal upheaval. As a pioneer of the movement, Mehrjui's film delves into the psychological tensions faced by an urban intellectual returning to his rural family estate, reflecting broader themes of disconnection and introspection in Iran's changing cultural landscape following the Revolution. The narrative's focus on memory and regret underscores the oppressive personal and political burdens of the era, contributing to the New Wave's legacy of blending social commentary with intimate human drama. The film marked the debut of , whose portrayal of the protagonist's childhood love propelled her to international stardom, opening doors to prominent roles in Iranian and global cinema. At age 14, Farahani's performance earned acclaim and served as a breakthrough, leading to collaborations with directors like in (2009) and Ridley Scott in Body of Lies (2008), where she became the first Iranian actress in a major Hollywood production. This launchpad role highlighted her versatility, bridging Iranian arthouse traditions with broader international appeal. Thematically, The Pear Tree has left a lasting legacy by influencing discussions on , loss, and within Iranian and diaspora cinema, with the titular pear tree emerging as an enduring symbol of and unfulfilled longing. Adapted from Goli Taraghi's , the film's poetic depiction of recollection and suppressed desires has resonated in analyses of human experience under constraint, informing later works that grapple with displacement and in the . Retrospectives continue to affirm the film's cultural significance, such as its inclusion in the 2025 UCLA tribute to Mehrjui, which screened The Pear Tree alongside other works to honor his contributions to global awareness of Persian arthouse cinema. These events underscore the film's role in elevating aesthetics internationally, fostering appreciation for its humanistic depth amid political adversity.

References

  1. https://www.imdb.com/title/tt0187809/
  2. https://www.moma.org/calendar/events/4693
  3. https://www.locarnofestival.ch/press/press-releases/2025/07/golshifteh-farahani-to-receive-excellence-award-davide-campari.html
  4. https://mubi.com/en/us/films/the-pear-tree
  5. https://rarefilmm.com/2023/10/derakhte-golabi-1998/
  6. https://www.trylon.org/film/the-pear-tree/
  7. https://www.imdb.com/title/tt0187809/awards/
  8. https://www.international.ucla.edu/africa/event/7082
  9. https://lcq.modares.ac.ir/article_18817.html?lang=en
  10. https://www.rogerebert.com/tributes/a-shocking-loss-dariush-mehrjui-1939-2023
  11. https://netpacasia.org/news_2/mehrjui-philosopher-of-iranian-cinema-8-december-1939-14-october-2023/
  12. https://www.tbsnews.net/splash/noted-iranian-director-dariush-mehrjui-and-wife-stabbed-death-719814
  13. https://offscreen.com/view/human_sonata
  14. http://filmint.nu/dariush-mehrjui-obit-1939-2023-ali-moosavi/
  15. https://www.theguardian.com/film/2012/sep/06/golshifteh-farahani-exile-iran-like-death
  16. http://www.filmsufi.com/2013/02/the-pear-tree-dariush-mehrjui-1998.html
  17. https://cinema.ucla.edu/events/2025-06-29-tribute-to-dariush-mehrjui-hamoon-the-pear-tree
  18. https://www.allmovie.com/movie/the-pear-tree-am69971
  19. https://www.imdb.com/event/ev0000747/1998/1/
  20. https://irmovies.com/?product_cat=dariush-mehrjui
  21. https://farhang.org/film-screening/ucla-celebration-of-iranian-cinema-2025
  22. https://www.imdb.com/name/nm0576529/
  23. https://grunes.wordpress.com/2008/01/16/the-pear-tree-dariush-mehrjui-1998/
  24. https://www.fajriff.com/en/iranian-poetic-cinema-through-the-lens-of-dariush-mehrjui/
  25. https://variety.com/1998/film/news/chicago-film-fest-covers-the-hole-with-top-prize-1117481588/
  26. https://www.chicagotribune.com/1998/10/22/here-are-capsule-reviews-for-thursday-films-2/
  27. https://www.hollywoodreporter.com/movies/movie-news/golshifteh-farahani-iran-hijab-film-leonardo-dicaprio-1236338586/
  28. https://deadline.com/2025/07/golshifteh-farahani-locarno-excellence-award-1236467029/
  29. https://www.hollywoodreporter.com/movies/movie-news/golshifteh-farahani-locarno-excellence-award-davide-campari-1236327334/
  30. https://www.criterion.com/current/posts/8286-dariush-mehrjui-everything-is-political
  31. https://www.anothermag.com/design-living/15210/remembering-the-films-of-iranian-new-wave-pioneer-dariush-mehrjui
  32. https://www.msn.com/en-us/movies/news/golshifteh-farahani-on-leaving-iran-hijabs-music-and-working-with-leonardo-dicaprio/ar-AA1K50r8
  33. https://www.imdb.com/name/nm0267042/
  34. https://hammer.ucla.edu/programs-events/2025/tribute-dariush-mehrjui-hamoon-pear-tree
  35. https://jfadram.ut.ac.ir/article_95279.html?lang=en
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