homework movie 1989

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Directed by Abbas Kiarostami • 1989 • Iran

In Abbas Kiarostami’s second documentary feature about education, the filmmaker himself asks the questions, probing a succession of invariably cute first- and second-graders about their home situations and the schoolwork they must do there. It emerges that many parents are illiterate. Tellingly, many kids can define punishment (the corporal variety seems common) but not encouragement.

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Homework (Mashgh-e shab)

At Martyr Masumi School in Tehran on the heels of the Iran-Iraq War, Kiarostami interviews elementary aged boys about their homework. In his seemingly straightforward “research through images,” he gradually uncovers the darkness and trauma lurking behind their missing homework assignments: illiterate parents who can’t help them; emphasis on rote learning over critical, creative thought; internalization of moral judgements; and the overarching punitive threat that hovers over all of them. Providing both his view and that of the children’s—either the sunglassed director or his avuncular cinematographer next to the dark eye of the camera lens—Kiarostami continues with a line of inquiry that ultimately unsettles the innocence and charm of the children, who often smile as they describe their punishments. The investigation of a drama that erupts toward the end of the film elaborates the depth of the problems. The film’s critical stance marked the end of his relationship with Kanoon and led to the government banning its screening for three years.

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Beautiful, interesting, incredible cinema.

In this documentary, Iranian schoolboys complain about the amount of homework they have to do.

Returning to the classroom after First Graders , Abbas Kiarostami interviews schoolboys, and just wait until you hear what tumbles from their mouths. Underneath a simple—and simply devastating—premise, Kiarostami unearths a maelstrom of suffering, indicating something rotten in the state of Iran.

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Directed by Abbas Kiarostami

Young male students at a local Iranian school are asked about their feelings on homework.

Babak Ahmadpoor Farhang Akhavan Mohammad Reza Nematzadeh Abbas Kiarostami Iraj Safavi

Director Director

Abbas Kiarostami

Producer Producer

Ali Reza Zarrin

Writer Writer

Editors editors.

Abbas Kiarostami Yavar Toorang

Cinematography Cinematography

Ali Asghar Mirzaie Farhad Saba Iraj Safavi

Composer Composer

Mohammadreza Aligholi

Sound Sound

Changiz Sayad Ahmad Asgari

Persian (Farsi)

Releases by Date

01 feb 1989, releases by country.

Premiere Fajr Film Festival

86 mins More at IMDb TMDb Report this page

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Review by Laura ★★★★

each of these kids are quick to associate abuse with the word punishment, but when they hear the word encouragement, their eyes are blank. and yet, the ending tells us that encouragement is passed between them. even though in most cases adults are not expressing encouragement or support, they have found it with each other. it doesn’t need to be taught. the act exists without knowing the definition. it’s something that is present underneath so much of kiarostami’s work – a silent trust.

homework proposed a slightly new definition of encouragement: allowing your fear to subside when in the presence of someone that sees you. the strength you gain from just being in the same room as someone that protects and loves you.

Review by Sahba ★★★½

Somebody be the Molaei to my Majid, please.

Review by BrandonHabes ★★★ 2

HOMEWORK is a hurricane of devastation from my man Abbas. This thing is pretty heavy and uncomfortable and explicitly sad. For 86min we listen to interview after interview of children describing the burden of homework, the abuse they face at home and school, and the lack of positive reinforcement that would otherwise buttress their academic confidence.

Behind their words a deeper story is being told. A story about a problematic national mentality, one that normalizes abuse and grooms a future generation for letdown and punishment.

The most interesting thing about the doc is how transparent the camera and film crew are in probing the parent-child/teacher-student relationship. The presence of the camera does something to the way these kids respond, almost…

Review by Stephen Gillespie ★★★★ 1

Kiarostami is outstanding at matching his movies form to their message. Whether it is the constrained monologues conveying isolation in Taste of Cherry , having people play themselves in Close-Up , there is always something about the approach that enriches the themes.

In Homework, the obvious facet to point to is having children talk about homework in their own words. This film is just Kiarostami asking people about homework (and, at points, wider education), his subjects mostly being children - young children. The real brilliance though is how he frames the interviews.

We have an oppressive, almost classroom like atmosphere. Kiarostami is framed as an inquiring teacher, with a camera operator pointing the lens straight at the students. As a viewer, we…

Review by pirateneckbeard ★★★★

Geez Abbas Kiarostami is just a smart director. He seems to telegraph his punches about trying to understand the education system in Iran by even stating at the beginning he doesn't know exactly what the subject is about but so smartly seeps in with these jabs at the society and how they are archaically stimming the growth of there own by not developing better skills to help and these kids know all about punishment(usually by belt) but very few know encouragement(usually by claps at best). I found it profound that he more or less bookended this film with these children doing there morning ritual of pledge to hate other nations and defend the Iranian people but in the end he…

Review by Zegan ★★★★½

Kiarostami did his Homework very well

Review by PopcornIdeology ★★★★

At this point Kiarostami could film an old man sneezing and I’d call it a groundbreaking testament to minimalist cinema.

Homework is just kids talking about homework. What starts out as an inquisitive search as to why kids don’t do there homework slowly morphs into an investigation of positive and negative reinforcement, the lasting effects of punishment, and I think at it’s core: Iranian culture as a whole. I was caught off guard by how invested I was in the film, and it’s clear as day where Kiarostami got his inspiration for Where is the Friend’s House.

The one element of the film I’m a bit unsure of is the constant cutaways to the camera man, often using the same…

Review by Jerry McGlothlin ★★★★ 2

When children feel relaxed, comfortable and a sense of trust in those around them, they tend to tell the unvarnished truth, because they do not feel the need to put on airs or impress, nor do they feel they have anything to gain from it like status, acclaim, wealth, etc. like adults do. But, when children feel a sense of pressure and expectations in the environment around them, their word becomes unreliable out of a sense of sinless self-preservation, especially when they are coming from a home/school environment that is hostile or abusive.

In Homework , the infinitely empathetic Abbas Kiarostami interviews a series of children about their homework, but as is ever so common in the works of Kiarostami, a…

Review by Sally Jane Black 2

A deeply uncomfortable interview-documentary between Kiarostami (decked out in intimidating sunglasses and full movie-making mode) and school children, this film exposes ineffectual methods, troubled home lives, and an undercurrent of militaristic jingoism from the mouths of babes. Reality is, of course, unclear here, but there are moments of horror as what would now be termed child abuse is described over and over again--no matter how staged it is, it's clearly inspired by some actuality. You want to believe these sort of things are a matter of history now, but I doubt it is much, in Iran or in America.

Review by Darren Hughes ★★★★½

The last minute is a damn miracle.

Review by Darren Carver-Balsiger ★★★½ 2

Homework is a simple yet powerful documentary about the Iranian education system in the 1980s. It mostly consists of children being interviewed, and they give very frank answers that reveal much about what limits them. When discussing what prevents them from completing homework we learn that many have complicated family situations, or live of poverty, or have illiterate parents. Many also live in fear of punishment, which comes in the form of physical violence. It is made quite clear how strict Iranian society was for these children, who are hit by both parents and teachers. It's quite devastating to hear what some of these children faced. Homework also goes further, with footage early on that shows a strong religious and…

Review by luke? ★★★★½ 2

This is like the exact opposite of "fuck them kids". Not sure what that would be though. Maybe "appreciate them kids"?

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Watch Homework

1 hr 26 min
7.8 (1,834)

Homework is a documentary movie. The movie is mostly about interviews about pupils and two of the pupils’ parents who attend Shahid Masumi School. They are asked their opinions on what they think of the tradition of assigning homework to students. Some issues like parents who are unable to help their children because of illiteracy are brought up in the documentary. Other things like embarrassing family issues are also talked about.

Genres Documentary
Cast Babak Ahmadpoor Farhang Akhavan Mohammad Reza Nematzadeh
Director Abbas Kiarostami
Release Date 1989
Runtime 1 hr 26 min
Language Persian
IMDB Rating 7.8 (1,834)

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Lying About Homework (Abbas Kiarostami, 1989)

“it’s a film about homework.”.

Or so Abbas Kiarostami tells a group of schoolboys who approach him on the street and ask what he’s filming. “Have you done your homework?” Kiarostami asks them, in turn. A resounding “Yes!,” and off they go to school, where the director and his crew will soon join them. When an adult passerby stops to inquire about the film moments later, Kiarostami skirts politely around his own intentions — the theme will emerge only through the process of filming, but it has something to do with a problem he encountered while helping his son with his homework — before offering the man a vague summary of what he knows so far. “You could say it’s a visual study of pupils’ homework assignments.”

Taken at face value, Kiarostami’s description of his feature documentary Homework ( Mashgh-e Shab , 1989) is accurate enough; the bulk of the film entails he and his small crew visiting a poor public school in Tehran and interviewing schoolboys, one after another, about their homework. Calling the film a “visual study,” however, would be selling it short by half. Kiarostami understood better than most that cinema is not a visual but an audiovisual medium, comprised of image and sound; Kiarostami’s cinema, in particular, is as much about what we don’t see as what we do. The interactions described above occur in the opening seconds of the film, and already we’ve seen and heard the children but have only heard the adults. Kiarostami and the passerby remain hidden somewhere beyond the edges of the frame, their conversation perhaps heard from a time and place that doesn’t correspond to what’s shown onscreen. Homework is about children, who we always see, but it’s also about adults, who we only sometimes see.

“Why haven’t you done your homework?”

Kiarostami begins by asking this question, or a question to this effect, to each child seated in front of his camera. The answers they give are often banal (for example, they couldn’t do the homework because some family members came to visit) and sometimes poignant (their parents are illiterate and so weren’t able to help them with it). On this level, the film is a rather straightforward journalistic undertaking about children’s attitudes towards homework and, by extension, schooling and education. But as all documentaries do to some degree, Homework reflects a moment in history — here the latter stages of the Iran-Iraq War, a savage conflict that lasted eight years and killed somewhere in the vicinity of a million people. The young boys who appear in the film don’t yet know a world without it. It’s through their responses to Kiarostami’s simple but persistent questioning, which slowly branches off from the topic of homework, that they reveal the immense cultural, social and political pressures that inflect their lives — and that they carry with them every day, like their schoolbags, between home and school.

“What do you want to be?” Kiarostami asks a child, to which the child responds, “A pilot.” Nothing at all unusual except the reason given, which is “To kill Suddam.” When asked what he’d rather be if Suddam Hussein weren’t part of the picture: a doctor, to save lives! Despite that he ought to be too young to understand what it means, another boy claims he’ll hit his future son to discipline him — seven times, to be exact, this being the same number of slaps he receives from his own father when he acts up. In a more light-hearted but no less absurd fashion, many of the boys profess that they enjoy doing homework as much as they enjoy watching cartoons. The children’s grades, abilities and circumstances may vary, but it’s clear they’re all learning; that is, they’re learning what they’re supposed to say. And one lesson they’ve learned already, it quickly emerges, is that they get punished for not doing homework. Almost every child agrees on what this “punishment” means — it’s usually to get beaten by a parent, with a belt, or sometimes by a teacher, with a ruler. (Few of them agree on, let alone understand, what is meant by “praise” or “encouragement”.) It isn’t the children’s attitudes towards homework that speak loudest, so much as their fear of what would happen should they not do it.

“Why are you crying?”

Kiarostami isn’t even able to broach the topic of homework with Majid, the last boy to appear before the camera. The poor kid is an anxious mess from the outset, crying for his best friend to be alongside him for protection, apologising for no reason in particular and, most tellingly, keeping his arm raised throughout much of the ordeal — something a teacher has taught him to do, when seeking permission. Kiarostami isn’t a teacher, but he may as well be one for Majid and the other children. Like a teacher, this man already seems to know whether they’ve done their homework or not. And like a teacher, he has the power to pull them out of class for reasons they don’t understand, and into a room full of strange men and their strange equipment, the significance of which they also don’t understand. All Majid knows is that Kiarostami belongs to the adult world — the same world in which belong the men and women who punish children for not doing homework. Which is why Majid cries, and why the children lie.

Like Frederick Wiseman’s American documentary High School (1968), filmed two decades earlier in a country that would soon become one of Iran’s ideological nemeses, Homework questions not just how schooling works but what schooling is for. Wiseman does this by focusing on the processes of schooling, by observing the teachers as they teach and discipline the students. Kiarostami focuses instead on the effects of schooling, by provoking the students to reveal what they’ve learned or not — all while questioning his own role as a filmmaker, as the one doing the provoking. Like their anxieties about school, these children’s anxieties about being filmed are often visible on their faces even before their interview has started proper. Not content with mere observation, however, Kiarostami also makes visible the immediate source of their anxieties, through sporadic shots of he and his crew that remind us exactly who’s in charge; and most notably, through the abundant insert shots of his cameraman pointing the lens directly into the eye of another camera — Homework ’s single most recurring image — that alternate with talking-head shots of the children throughout the film and function as their collective point of view. Kiarostami may be on the children’s side, but it doesn’t necessarily look that way for the children. This bold and jarring image, staged after the fact and shown again and again, never allows us to forget the imbalance at the film’s centre.

“Are you telling the truth?”

In a late sequence, a teacher leads the entire school through a religious mourning ceremony in the yard, echoing the nationalistic war chants the children are shown performing at the start of their day (“ Three and four and five and six, Saddam’s followers are doomed! ”). Kiarostami’s voice emerges, in a rare voiceover: maintaining the detached tone he adopts throughout the film, he expresses regret that the children aren’t performing the ceremony to an adequate standard — then turns off the sound. Kiarostami will go on to pull off a similar manoeuvre in the celebrated final sequence of his next film, the masterpiece Close-Up (1991). In that sequence, a faulty lapel mic serves as the pretext for obscuring a climactic conversation between two characters. The rationale given for the silence in Homework , however, is supposedly “out of respect.”

We can’t know for certain if Kiarostami is telling the truth or not, neither here nor elsewhere — but if the sound has been turned off out of respect, it would seem to be out of respect for the children only. With the homogenising camouflage of the singing removed, we can now see (and “hear”) that the children can’t recite the lyrics with any enthusiasm, or beat their chests properly in time, because they don’t care about or even understand the words and actions they’re being made to repeat. Some boys look around confused while others stare off into space, perhaps daydreaming about when the school bell might ring; many risk punishment and take the opportunity to play, by mocking the ceremony with a custom dance, or by sneaking out of formation to flick another boy’s ear from behind. As the soundtrack creeps back in, the camera locates Majid’s ever-anxious face at the tail end of the sequence — and he appears to be one of only few sorry-looking kids who are taking the ceremony seriously.

With a simple formal gesture, Kiarostami transforms the sequence into both a celebration of childhood and an indictment of blind adult authority — and confirms through sound and image what’s already been revealed through the children’s words. What the children say in Homework is often heartbreaking, but what they say isn’t the same as what they think and feel. (Even Majid will be given a final opportunity to prove as much, in the film’s beautiful closing moments.) The truth of this discrepancy comes in the shape of a lie; to see it and hear it for what it is, Kiarostami must lie himself.

Mashgh-e Shab ( Homework , 1989 Iran 86 mins)

Prod. Co: Kanun Prod: Ali Reza Zarrin Dir: Abbas Kiarostami Phot: Ali Asghar Mirzai, Farhad Saba, Iraj Safavi Ed: Abbas Kiarostami Snd: Ahmad Asgari, Changiz Sayad

Homework (movie, 1989)

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Mark	imdb: 7.9
Genre
Year	1989
Country	Iran

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Homework documentary

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Babak Ahmadpoor
Farhang Akhavan
Mohammad Reza Nematzadeh

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User history

Homework (1989)

July 24, 2021 | 8:00 PM - 9:20 PM | Saturday
Oldham Theatre

2K RESTORATION Original Title: مشق شب / Mashqh-e shab Directed by: Abbas Kiarostami Runtime: 77 min Country: Iran Language: Persian, with English subtitles Rating: PG

SOUTHEAST ASIAN PREMIERE

Full Synopsis

In Kiarostami’s second documentary feature about education, the filmmaker himself asks the questions, interviewing a succession of invariably cute first- and second-graders about their home situations and the schoolwork they must do there. It emerges that many parents are illiterate. Tellingly, many kids can define punishment (the corporal variety seems common) but not encouragement.

Text by Godfrey Cheshire.

For the full Retrospective: Abbas Kiarostami programme, please refer here .

If you have any trouble purchasing your tickets, please contact us at [email protected]

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Do note that oldham theatre does not play ads and screenings will start promptly. arrive early so as not to disrupt the screenings. all patrons are encouraged to purchase your tickets online to be able to secure a seat. seats are limited due to social distancing regulations. if you choose to purchase tickets or merchandise at oldham theatre’s box office, cashless payment is preferred., measures will be taken to ensure the health and safety of all patrons at oldham theatre. this includes wearing a mask at all times for both staff and patrons, temperature taking, safeentry logging and observance of social distancing around the theatre. doors will open 20 minutes before showtime, so arrive early to register, take your temperature and find a seat., concession tickets apply to students (local & overseas), full-time national servicemen (nsf), senior citizens (55 years and above) only., please check film ratings before purchase of tickets. please note that you may be asked to present your id at the door (this applies to concession tickets as well). only physical photographic identification is allowed, digital copies of identification are not allowed. afa reserves the right to turn away any members of the public without physical photographic identification., upon confirmation of your order for tickets, no exchange of tickets will be made under any circumstances and tickets are not transferable. no refund on tickets will be made under any circumstances except due to cancellation of the event. the resale of tickets at any price is prohibited., quick links.

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Young male students at a local Iranian school are asked about their feelings on homework.

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Homework (Mashgh-e shab)

Two Solutions for One Problem

Part of film series

Abbas Kiarostami, A Cinema of Participation

Saturday Screenings postponed 25 April

A Wedding Suit

Sunday Screenings postponed 26 April

Sunday Screenings postponed 03 May

Friday Screenings postponed 08 May

Certified Copy

Saturday Screenings postponed 09 May

Sunday Screenings postponed 10 May

Monday Screenings postponed 11 May

Friday Screenings postponed 15 May

Like Someone in Love

Saturday Screenings postponed 16 May

Sunday Screenings postponed 17 May

Tuesday Screenings postponed 19 May

Friday Screenings postponed 29 May

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Lying About Homework (Abbas Kiarostami, 1989)

“Why haven’t you done your homework?”

“Why are you crying?”

“Are you telling the truth?”

Homework (movie, 1989)

Homework documentary

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Homework (1989)

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Homework (1989)

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