Amir-Hossein Ghasemi

Beitollah is a religious man who has been dreaming about a box of gold coins appearing at the end of a cave. He believes these coins are a miracle and wants to find them. But since he does not consider the coins to be halal, he wants to find a non-religious assistant to accompany him on the search. With the help of a job advertisement printed on the back of counterfeit dollar bills that Beitollah distributes on the streets of Tehran, he recruits the young Shoja and the two set off together to search for the coins. They discover several caves in the north of Iran but none is the right one. They move on to the central deserts of Iran and spend the night at a Caravanserai roadside inn. The inn’s owner suspects that the two might be looking for treasure and decides to follow them on his motorcycle…

The path of love seemed easy at first...

1978년 이란에 있는 작은 마을 잘라바의 주민들은 그들 사이에 악마가 있다고 진술한다. 이 진술을 조사하고 있는 어린 헌병대 병장 마수드는 마을의 악마를 제거하려고 하는 퇴마사를 만난다. 사기 혐의로 퇴마사를 체포하자, 마을 사람들의 두려움과 공포는 고조된다. 마수드와 정부의 의사인 그의 연인은 그 둘 이 악마에게 홀렸다고 믿는 마을 사람들에 둘러싸여 저주받은 집에 갇힌다.

1978년 이란에 있는 작은 마을 잘라바의 주민들은 그들 사이에 악마가 있다고 진술한다. 이 진술을 조사하고 있는 어린 헌병대 병장 마수드는 마을의 악마를 제거하려고 하는 퇴마사를 만난다. 사기 혐의로 퇴마사를 체포하자, 마을 사람들의 두려움과 공포는 고조된다. 마수드와 정부의 의사인 그의 연인은 그 둘 이 악마에게 홀렸다고 믿는 마을 사람들에 둘러싸여 저주받은 집에 갇힌다.

Roya is a young girl with a yellow spot on her face. One day she feels the signs of a real giraffe in her life. And her normal life is slowly changing.

What's your problem now ?! Do you mean it's not legal ?! Does this mean everything is always legal here ?! Are we all right ?! No one has done anything wrong so far ?!

Reza is a divorced author who is trying to adopt to his new life after divorce while he finds a new romance.

Since Iran opened its borders to refugees of the Soviet–Afghan War in 1979, it has become home to as many as 2.5 million Afghans, half of whom are undocumented. When renewed US sanctions in 2018 caused a currency collapse in Iran, the vulnerable population of migrants—often working as low-paid labourers in harsh conditions—was severely affected by the recession. Now, large numbers of them want to return home. Bahman Kiarostami (the son of late acclaimed director Abbas Kiarostami) sets up his camera in a Tehran-based facility processing thousands of illegals leaving the country. The migrants are asked surprising personal questions about everything from religion to drugs to family issues. With a Wiseman-esque fly-on-the-wall observation of these surprising interrogation sessions, Kiarostami paints a kaleidoscopic, empathetic and often humorous picture of the Afghans' place in Iranian society and their reasons for leaving it.

초반부부터 마약 단속반 형사 사마드가 마약범 나세르를 추격하는 모습을 엄청난 속도감으로 보여준다. 일반적인 장르영화라면 추적과 체포 과정을 절정부에 배치해 카타르시스를 배가시키겠지만, 이 영화는 중반쯤에 사마드가 나세르를 붙잡는 데 성공하는 장면을 보여준다. 하지만 영화의 본격 시작은 이때부터다. 나세르가 잡혀 들어간 유치장은 난장판이 되고 사마드조차 통제 불능의 상태가 된다. 이란의 마약 중독자가 650만 명에 달한다는 의미의 제목처럼, 거리에서 마약을 없애려는 사마드의 시도는 시시포스의 형벌을 닮은 듯 보인다.

어느 날 한 중년 여성의 몸에서 원유가 나오기 시작하고, 아무 이유 없이 그녀의 집이 흔들리더니 천장에는 칼로 잘라낸 듯한 구멍이 생겨난다. 영화의 초반에 들어간 TV 프로그램의 푸티지를 통해 암시하듯 그 구멍은 고든 마타-클락의 작품들을 인유하고 있다. 마타-클락의 작업은 해체가 결정된 건축에 들어가 그 건축을 평면으로, 입체의 형태로 해체하는 과정과 결과물 모두를 전시하는 일종의 언빌딩(unbuilding) 내지 아나키텍쳐(anachitecture) 작업이었다. 관람객들은 이러한 작업을 보며 건축의 안과 밖을 나누고 그 경계를 유지하는 문화사회적 구조와 범주에 대해 스스로 질문하게 되는 것인데, 이 영화 역시 그와 유사한 경험으로 관객을 이끈다. 1970년대 후반부터 이란에 가해진 서구의 경제 제재의 역사가 한 층위에, 원유라는 상징물을 통해 생산수단이자 착취된 노동 주체로서의 여성이 또 한 층위를 차지한다. 그리고 격세유전이라는 설정을 통해 이란의 역사와 여성의 육체를 하나의 시공간, 즉 이 영화 위에 겹쳐 놓는데 성공한다. 이 영화에서 스토리의 전개는 크게 중요하지 않다. 이 영화는 초반부와 중반부에 이미 비선형적인 스토리텔링을 통해 중요한 소재는 무엇이고, 주인공에게 어떤 일이 일어날지 미리 관객에게 전달한 채, 주인공과 주변 인물들이 만든 공동체의 긴장감 넘치는 공기를 호흡해보기를 주문하기 때문이다.

The young Iranian woman had not been expecting this kind of examination. She only wanted to renew her driver’s license, but when the officials noticed a scar on her wrist and her tattoo, they began looking at her with suspicion. Suddenly she is trapped, forced to answer personal questions and exposed to insinuations. The camera captures the growing uneasiness with clinical precision.

The secret of the worldview of dignity is revealed? This mystery of sleep will spit Marsh, Mahro, Goodarz, Bahram, Jahangir Major Pushis. Jahanbakhsh begins a long journey to prove his innocence and the return of tranquility. A journey that will end the life of many of them.

이란-이라크 전쟁의 마지막 날, 고향으로 향하던 이란 최정예 군인들은 이라크의 도발 소식을 듣게 된다. 국경 지역을 시작으로 사정없이 맹공격을 퍼부으며 역습을 노리는 이라크! 망설이던 군인들은 결국 오랫동안 염원해온 가족과의 재회를 뒤로 하고 나라를 위해 또 한번 최전선으로 향한다. 이제 최후의 전투가 시작된다.

Touran Mirhadi (Khomarloo) is the founder of Farhad School, the Children's Book Council, and the Encyclopedia for Young People. She was also actively involved with close to 20 other institutions dealing with child development and education and supported the formation of dozens of others. She is known as the preeminent architect of childhood institution and the mother of modern education in Iran. This film follows the efforts and preoccupations of Ms. Touran Mirhadi in the last four years of her life. It shows how she strove to enrich the field of child education in Iran to the age of 89, always maintaining that peace was to be cultivated at childhood.

An orange Chevrolet Impala drives across a cemetery towards an abandoned shipwreck in the middle of a desert landscape. It is the 22nd of January, 1965. The day before, the Iranian prime minister was shot dead in front of the parliament building. Inside the wreck, a banished political prisoner has hung himself. The walls are covered in diary entries, literary quotes and strange symbols. Can they help Police Inspector Babak Hafizi in his investigations? Will they shed any light on why there is always an earthquake whenever somebody is buried in this desert cemetery?

보낸 이가 적혀 있지 않은 사진 한 장의 출처를 쫓아 20년 동안의 프랑스 생활을 접고 자신이 살던 마을로 돌아온 골리. 그런 그녀가 기억하지 못하는 수 많은 과거를 세세하게 기억하는 액자 장인 파하드를 만나 예상치 못한 순간들을 만나게 되는데… “꿈에서 항상 넌 떠나고 난 남겨지지” 오랜 시간 동안 첫사랑이었던 골리의 흘러간 시간과 사라진 기억을 그대로 붙잡고 간직하고 있는 파하드. 그런 그를 알아보지도 못하는 그녀에게 그만의 방식으로 그녀가 잃어버린 기억들을 하나씩 찾아준다.

Award-winning Iranian filmmaker Rakshan Banietemad ends her eight-year hiatus from feature filmmaking with this ingenious, mosaic-like narrative, which knits together the stories of seven characters to create a microcosm of Iranian working-class society.

The story of Imam Hossein's battle in Karbala, an unfair war which made one the most important effects in Islam history.

Bahman Mohassess was a celebrated artist at the time of the Shah. Trained in Italy, he created sculptures and paintings in his homeland. But audiences often took offence at the pronounced phalli on his mostly naked bronze figures and his work was regularly censored. All traces of him were lost after the revolution. It was said he destroyed his remaining paintings and disappeared.

Rahmat travels to a host of islands in a vast salt pan in order to collect the inhabitant's tears for an unknown purpose. He is joined on his mysterious journey by a young boy searching for his father. As their travel nears its end, a potent critique of the Iran's political leadership emerges.

The struggle to survive, for a generation, torn between wanting to leave its country, yet bound by blood to home.

A mother's courage, hardship, and love, in times of war. In 1988, during the Iran-Iraq war, Gilane escorts her pregnant daughter, Maygol, from the relative calm of their village, Espili, into war-torn Tehran to search for Maygol's husband, Rahman. The journey is arduous and what they find when they reach the capital is dismaying and frightening. Fifteen years later, as another war begins in Iraq, Gillane is at home caring for her son Ismael, who suffers from epilepsy, a byproduct of war. As she cares for him, she hopes for a visit from the doctor and from another daughter, Atefah. "Better be a dog than a mother," she says.

Infidels (Koffar) is a film about the Godars—artist-Gypsies living in Northern Iran. The film recounts the four ways which the Godars make their living: dancing, acting, hunting and music, and showcases their dedication to preserve their art and age-old rituals. In this film the Godars sing songs, play music, and tell the ancient tales of their heritage which often deal with their problems with God.

An original account of the 2015 Paris’ terror attack, Cyclothymia of a Land echoes the deep reasons of physical and psychological displacement. Emergencies, iniquity, propaganda, terrorism, war to terror, all inhabit an unusual journey into Tehran’s contemporary and precarious cityscape and an eerie and non-reassuring vegetation.

An original account of the 2015 Paris’ terror attack, Cyclothymia of a Land echoes the deep reasons of physical and psychological displacement. Emergencies, iniquity, propaganda, terrorism, war to terror, all inhabit an unusual journey into Tehran’s contemporary and precarious cityscape and an eerie and non-reassuring vegetation.