Cities are places where people can feel comfortable, build houses, and develop social networks, but people can also be isolated in different districts because of their social and economic statuses, or they can suffer from the negative effects of industrialization. Two different cities are represented in films Children of Heaven (1997) by Majid Majidi and Metropolis (1927) by Fritz Lang. In these films, Majidi depicts the poor communities of the Islamic city Tehran in contrast to the rich center of the city, and Lang presents the developed city of the future. In spite of the fact that the directors’ approaches to demonstrating the cities are rather different as well as their topics for discussion, these both films are important to emphasize the connection between urban planning and social environments when the place of living depends on the social status, and economic status can also be determined with references to the district in which people live and develop their social networks. The main characters of Children of Heaven are Ali and Zahra, young brother and sister, who live in the poor neighborhoods of Tehran. The aspects of their everyday life are closely associated with the district in which they live. The strict social stratification is reflected in relation to children’s possibilities to attend the school for inhabitants of the poor neighborhoods and also in possibilities to wear only one pair of shoes in a season (Children of Heaven). The situation is worsening with the family’s inability to pay the rent on time, thus, Ali and Zahra’s parents cannot be sure even in preserving their home. Tehran is one of the oldest Iranian cities which today can be characterized by the great diversity because of different social and economic statuses of inhabitants. Thus, in the film, the poor neighborhoods are presented in contrast to rich districts. The children’s family has to live in the isolated poor neighborhoods, and Ali with his father can go to rich districts only in order to find the work in rich houses (Children of Heaven). Wealthy people who live in these districts follow the lifestyle which is rather discriminating in its nature in relation to the everyday life and possibilities of poor people from the neighborhoods (“Urban and Suburban Sprawl”). Majidi illustrates the contrast providing the vivid depictions of rich districts and gloomy pictures of poor neighborhoods. Nevertheless, the urban isolation and contrasts in physical settings of different districts contribute to emphasizing the strong social networks. The connection between the members of the children’s family plays a significant role in the process of their adaptation to the realities of life in poor neighborhoods. Moreover, the separation of rich and poor people in districts contributes to intensifying their inner social networks. It is relevant for Tehran as the Islamic city that “the flavor of these old urban communities, in complete contrast to the desolation all around them, was at once intimate, intricate and intense” (“The Islamic City” 383). Thus, the connections between the representatives of poor communities are emphasized in the film, and the pictures of dusty neighborhoods accentuate the poor living conditions of Ali and Zahra’s family. The problem of strict social stratification emphasized with the help of urban planning is also represented in Metropolis. Lang’s silent film demonstrates the city of the future where the representatives of