Whether it's Iran or Australia, Hungary, Taiwan or the US, the special and distinctive relationships between fathers and daughters are explored on film in a myriad of ways. It can be the basis for examining the complexities of an Australian family – via the Swedish source of an Ibsen play – in 'The Daughter', or seeing a father attempting to regain his status within the family unit in the biting satire 'Force Majeure'. We discover a father and daughter bond through the love of a dog in the extraordinary 'White God', while in 'Me and Me Dad', a daughter reflects on her father and filmmaker John Boorman. Acclaimed Iranian filmmaker Ashgar Faradi looks at the role of the father in both Tehran and France in 'A Separation' and 'The Past' respectively, while in Ang Lee's majestic 'Eat Drink Man Woman' an ageing patriarch has to cope with a rapidly changing world and the shift in values held dear by his three, very different daughters. And if 'The Brand New Testament' takes this relationship into previously uncharted celestial spheres, Forest Whittaker's replacement guardian in Jim Jarmusch's hugely entertaining 'Ghost Dog: Way of the Samurai' shows that you don't have to be biologically related to be the perfect father figure.

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