Directing
An Iranian expat journeys back to his homeland, where he must face his domineering father and grapple with complex emotions about family ties, cultural identity, and his place in the world.
Six Iranian directors examine, one after the other, a place in Iran, France, or Germany. The places and the stories enter into a dialogue with each other and deal with living conditions in today's Iran, social and economic struggles, but also identities in exile, and places of longing.
A Bosnian woman is released from prison after 13 years. She comes back home, where she finds her young son and his pregnant girlfriend. With luggage and flight tickets in their hands, they are up to travel to start a new life.
Hollow is an essayistic observation of life and death framed by a panopticon.
Inspired by two stories by Gregory Burnham and Edward Lowe, this poetic and experimental essay film is a new look at the ill-fated relationship and human book with life and numbers.
It is 1978. Tehran is in bloodshed. The young Bahman falls in love with Leila, the sister of his martyred friend. Unrest in the streets, unrest in the hearts.
A short documentary film about the bloody massacre of innocent Iranian people in September 8 of 1978. It concentrates on less than a minute of horrifying footage of the bloody killing of people who were unaware of the official curfew, to find out more of the identity of the victims. 'Into Thin Air' can be seen as the moving and pathetic image-reading of any political massacre of innocent victims.
Wedding: A Film is a personal, poetic essay in which Mohammadreza Farzad tries to understand the institution and concept of marriage. Farzad does a survey of your levels; he plays his own wedding video over and over again to look for early signs of unhappiness in his marriage and a future divorce. He looks at other people’s wedding videos to investigate whether a happy wedding means, and is, synonymous with a happy marriage. The hunt for answers goes from the personal and empties into the issues of marriage function in society.
In 1978, on the verge of Islamic revolution, more than 130 cinemas burned down across Iran, including 28 in Tehran. Who set them on the fire? How and why? If movies can predict revolutions, does any revolution see the revenge of people unseen on the silver screens?
We see footage of the Green Movement, a wave of protests in Iran that began in the summer of 2009, in response to the presidential election fraud in favor of the incumbent president Mahmoud Ahmadinejad. We see the chaos, the solidarity among the people, and the amazement too: that this is possible, that this is actually happening. Shaky handheld images capture both the energy of the crowd and the panic when shots suddenly ring out. Meanwhile, a voice-over calmly recounts what happened to the people we see.
