This movie makes me think casuality as a strange spiral ficction. Tehran reminds me of Bogotá when I was too a kid.
'The Mirror' starts off promising: the girl is charismatic, introspective, and bright, and the film's direction and shooting is patient and thoughtful. Then, in an unusual move caused by her, its feel changes and the film becomes a true portrait of the child, upset and proud, and her quest to find home.
The complaints about the lack of profoundness and the "content-wise" nagging are inexplicably demanding and overreacting. This is cinéma vérité at its best, let's break the fourth wall more often.
As always Panahi makes a film about Iranian society, this time from the eyes of a child who is on her way home. Although the society looks old to me, and there are so many changes in appearance, but the core is still the same so the film looks real. By the way, there's no Arabic heard in the film in spite of Arabic being listed in MUBI (maybe a bit of Turkish, but not Arabic.).
An interesting enough concept intellectually, but after Panahi reveals the gimmick (that the girl is being filmed by him as part of a movie within the movie), it becomes nothing more than cinematic rambling. As the film swerves between the girl looking for her mom and the filmmakers looking for the girl to get her back on set, the meta-ness of it all feels less profound than cutesy