Scientific Journal of Motaleate-e Tatbighi-e Honar

"Motherland" can be considered as a fundamental model in the existence of a society, whose descent goes back to the collective memory. Along with attention to ideas such as attention to collective memory, historical past and nostalgia for lack of the lost past, which led to the emergence of the "romanticism movement" in the west at the end of the 18th century, which created elements and strains that shaped the contemporary history of the world. Strongly affected himself; Elements such as identity seeking, national identity, national belief, and with a more detailed and deeper look, all these concepts can be seen as emanating from a kind of human view of mythology and collective memory and the concept of "motherland". From this point of view, This research, with a descriptive-analytical approach and using library documents, has tried to answer the question of what the concept of  motherland has in common in the movies “The Mirror” and “Bashu the Little Stranger” and how does it appear? And in answering this question, we are faced with common aspects such as emphasizing the historical past, national identity, focusing on the mother's personality, symbolism, the presence of the absent father, the importance of the child's emotions, receiving the improved concept, similar filming techniques. And the purpose of writing this article is to examine the concept of motherland and its similarities in these two films. As a result, although it seems that Tarkovsky's cinema and Bayzai are not similar in general, in these two films, both filmmakers are influenced by the romanticism movement, as well as their cultural roots and political conditions in representing concepts such as homeland, mother, identity and historical past are coming together.