Bahram Beyzai

An Avant-garde short movie of Bahram Beizai about history of Kish island in south of Iran.

A documentary about the most important modern Iranian poet and intellectual icon. Iranian poet Ahmad Shamlou talks about his poetry, the world of poetry, and his life. Filmed over a two year period from 1996 to 1998.

A documentary about Bahram Beyzai (Persian: بهرام بیضایی; born 26 December 1938). He is an Iranian playwright, theatre director, screenwriter, film editor, and ostād ("master") of Persian letters, arts, and Iranian studies.

A documentary about Ghazaleh Alizadeh who was an Iranian poet and writer.

This documentary movie explores the professional life of Parviz Fanizadeh, Iranian actor of the 60s and 70s cinema and theater, with investigating through archival footage of his works and referring to his fellow artists.

Documentary about Babak Bayat (Persian: بابک بیات)(13 June 1946 – 26 November 2006). Babak Bayat was an Iranian songwriter and film score composer. He was repeatedly nominated for the Crystal Simorgh award in the field of the soundtrack at the Fajr Film Festival and received this award twice in 1991 and 1997.

An examination of the work and lives of actresses in the Iranian film industry prior to the 1979 revolution, featuring myriad interviews and rare film clips.

Part 1 of the trilogy concerning Persian poet Farough Farrokhz. This film traces her personal life.

Part 3 of documentary trilogy about Persian poet Forough Farrokhzad. This part focuses on her theatre and film work.

about Bahram Beyzai

A documentary film by Bahman Maghsoodloo about Bahram Bayzaei and his cinema, released in 2019. Maghsoodloo's conversations with Bayzaei in this film were recorded in Tehran in 2002 and Palo Alto in 2017.

The documentary was produced in 2004.

Ali Dehbashi, the editor-in-chief of Bukhara Magazine, is forced to vacate his rented office. While struggling with asthma and the pressure of publishing a special issue dedicated to Ferdowsi, he continues to honor artists and visit ailing cultural figures. Homeless and unwell, his devotion to Iran’s literary legacy keeps him going.

During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Scared, he sneaks into a truck that is leaving the area. He gets off the truck in the Northern part of the country, where everything from landscape to language is different. He meets Naii, who is trying to raise her two young children on a farm, while her husband is away. Despite cultural differences, and the fact that they do not speak the same language, Bashu and Naii slowly form a strong bond.

During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Scared, he sneaks into a truck that is leaving the area. He gets off the truck in the Northern part of the country, where everything from landscape to language is different. He meets Naii, who is trying to raise her two young children on a farm, while her husband is away. Despite cultural differences, and the fact that they do not speak the same language, Bashu and Naii slowly form a strong bond.

During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Scared, he sneaks into a truck that is leaving the area. He gets off the truck in the Northern part of the country, where everything from landscape to language is different. He meets Naii, who is trying to raise her two young children on a farm, while her husband is away. Despite cultural differences, and the fact that they do not speak the same language, Bashu and Naii slowly form a strong bond.

When he takes a job as a schoolteacher in a new neighborhood, the hapless intellectual Mr. Hekmati finds that he is a fish out of water.

When he takes a job as a schoolteacher in a new neighborhood, the hapless intellectual Mr. Hekmati finds that he is a fish out of water.

Bahram Beyzai's poetic imagining of the circumstances that led to the death of Yazdgerd III, the last of the Sassanid kings of Iran. His death in 651, during the Arab invasions that brought Islam to this Zoroastrian realm, was mysterious: his corpse was discovered in a mill, but the cause of his death—and the whereabouts of his remains—are unknown.

Golrokh, an Iranian author, struggles to settle her husband's debts caused by a business partner who left him to bear the consequences.

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

In a remote seaside village, the peaceful lives of the residents are upended when they spot a mysterious boat drifting toward the shore. Upon pulling it in, they find a weary and wounded stranger named Ayat, who has no memory of how he got there. He only recalls being attacked and barely escaping with his life. As Ayat tries to rebuild his sense of self and uncover the truth about his past, he becomes a source of curiosity and suspicion in the community.

A young woman's wedding becomes a ritual of mourning when her sister and family die in an auto accident on the way to the wedding. The sisters' mother refuses to accept her daughter's death, and in the midst of wedding guests and mourners, including the drivers of the truck that caused the accident, she orders the wedding to take place. But how can the daughter marry in the midst of a wake and without the family's traditional mirror, which the sister was bringing to the service?

Bahram Beyzai's poetic imagining of the circumstances that led to the death of Yazdgerd III, the last of the Sassanid kings of Iran. His death in 651, during the Arab invasions that brought Islam to this Zoroastrian realm, was mysterious: his corpse was discovered in a mill, but the cause of his death—and the whereabouts of his remains—are unknown.

●THEATRICAL PLAY● Life is not a good play. Approximately year eighty of the Persian calendar. In a busy crossroads of Tehran, a woman and a man run into one another, torn apart by the events of the last fifteen years.

Famed actress Susan Taslimi plays three roles here: Kian, who doubts her identity; Vida, the twin sister, a self-assured artist; and their mother, who gives up one child out of fear of poverty, then deprives the other of affection because she deeply regrets the child whom she has abandoned.

Famed actress Susan Taslimi plays three roles here: Kian, who doubts her identity; Vida, the twin sister, a self-assured artist; and their mother, who gives up one child out of fear of poverty, then deprives the other of affection because she deeply regrets the child whom she has abandoned.

●THEATRICAL PLAY● Life is not a good play. Approximately year eighty of the Persian calendar. In a busy crossroads of Tehran, a woman and a man run into one another, torn apart by the events of the last fifteen years.

●THEATRICAL PLAY● Life is not a good play. Approximately year eighty of the Persian calendar. In a busy crossroads of Tehran, a woman and a man run into one another, torn apart by the events of the last fifteen years.

A lonely old man takes to terrorizing the kids who build a football pitch next to his house.

When Mr. Esalat is looking for a topic for his TV show, he notices an advertisement in the newspaper about a missing girl. The picture of the missing girl is very familiar to him and he tries to remember where he saw it before. His wife Asieh is a teacher and at home she writes his mother's diary. When he searches for the address in that advertisement, he finds that it belongs to 30 years ago. Asieh is becoming interested in the missing girl too.

The story is about two poor boys’ search for their father through a Journey from downtown to uptown. Two hungry boys are forced to move through the events, people and unrealistic and risky places in a nightmarish way. A daily journey in search of their lost identity and worth!

An Avant-garde short movie of Bahram Beizai about history of Kish island in south of Iran.

When Mr. Esalat is looking for a topic for his TV show, he notices an advertisement in the newspaper about a missing girl. The picture of the missing girl is very familiar to him and he tries to remember where he saw it before. His wife Asieh is a teacher and at home she writes his mother's diary. When he searches for the address in that advertisement, he finds that it belongs to 30 years ago. Asieh is becoming interested in the missing girl too.

Chakameh, who has lost both her husband and child in a car accident, meets a guy who was recently released from prison. While she is under pressure from lawyers to compromise with the arrested driver, the guy tells her his story of his arrest and subsequent release from prison.

A young orphan named Amiro lives alone in an abandoned tanker in the Iranian port city of Abadan. He survives by shining shoes, selling water, and collecting deposit bottles. Although he sometimes finds himself at odds with both adults and competing older kids, he finds solace in dreams about departing cargo ships and airplanes—and by running.

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

Golrokh, an Iranian author, struggles to settle her husband's debts caused by a business partner who left him to bear the consequences.

A young woman's wedding becomes a ritual of mourning when her sister and family die in an auto accident on the way to the wedding. The sisters' mother refuses to accept her daughter's death, and in the midst of wedding guests and mourners, including the drivers of the truck that caused the accident, she orders the wedding to take place. But how can the daughter marry in the midst of a wake and without the family's traditional mirror, which the sister was bringing to the service?

The Mongol invasion of Iran leaves the country devastated but the people fight for their right in their own way.

The fight for power in an isolated village. Two families have been enemies for so long they cannot even remember why. The only hope for peace between the feuding families is lost when an arranged marriage agreement is broken. Some days later, the groom, Karamat, returns with a brand new minibus. But a fierce competition for passengers break out when the bride, Mehrbanou, decides to do the same.

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

The story is about two poor boys’ search for their father through a Journey from downtown to uptown. Two hungry boys are forced to move through the events, people and unrealistic and risky places in a nightmarish way. A daily journey in search of their lost identity and worth!

During the Islamic revolution a SAVAK member Amani marries a woman her name Laleh. Laleh is a doctor and helps the injures of the revolution. Her brother is too involved in the revolution.

A lonely old man takes to terrorizing the kids who build a football pitch next to his house.

Persian Carpet is an omnibus film produced by Iran's National Carpet Center and Farabi Cinema Foundation where 15 renowned Iranian directors contributed films on the subject of Persian carpet. Carpets are the reflection of the cultural and historical identity of Iran.

During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Scared, he sneaks into a truck that is leaving the area. He gets off the truck in the Northern part of the country, where everything from landscape to language is different. He meets Naii, who is trying to raise her two young children on a farm, while her husband is away. Despite cultural differences, and the fact that they do not speak the same language, Bashu and Naii slowly form a strong bond.

Bahram Beyzai's poetic imagining of the circumstances that led to the death of Yazdgerd III, the last of the Sassanid kings of Iran. His death in 651, during the Arab invasions that brought Islam to this Zoroastrian realm, was mysterious: his corpse was discovered in a mill, but the cause of his death—and the whereabouts of his remains—are unknown.

During the Iran-Iraq War, Bashu, a young boy loses his house and all his family. Scared, he sneaks into a truck that is leaving the area. He gets off the truck in the Northern part of the country, where everything from landscape to language is different. He meets Naii, who is trying to raise her two young children on a farm, while her husband is away. Despite cultural differences, and the fact that they do not speak the same language, Bashu and Naii slowly form a strong bond.

Famed actress Susan Taslimi plays three roles here: Kian, who doubts her identity; Vida, the twin sister, a self-assured artist; and their mother, who gives up one child out of fear of poverty, then deprives the other of affection because she deeply regrets the child whom she has abandoned.

A young woman's wedding becomes a ritual of mourning when her sister and family die in an auto accident on the way to the wedding. The sisters' mother refuses to accept her daughter's death, and in the midst of wedding guests and mourners, including the drivers of the truck that caused the accident, she orders the wedding to take place. But how can the daughter marry in the midst of a wake and without the family's traditional mirror, which the sister was bringing to the service?

Chakameh, who has lost both her husband and child in a car accident, meets a guy who was recently released from prison. While she is under pressure from lawyers to compromise with the arrested driver, the guy tells her his story of his arrest and subsequent release from prison.

A young woman's wedding becomes a ritual of mourning when her sister and family die in an auto accident on the way to the wedding. The sisters' mother refuses to accept her daughter's death, and in the midst of wedding guests and mourners, including the drivers of the truck that caused the accident, she orders the wedding to take place. But how can the daughter marry in the midst of a wake and without the family's traditional mirror, which the sister was bringing to the service?

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

Chakameh, who has lost both her husband and child in a car accident, meets a guy who was recently released from prison. While she is under pressure from lawyers to compromise with the arrested driver, the guy tells her his story of his arrest and subsequent release from prison.

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

Golrokh, an Iranian author, struggles to settle her husband's debts caused by a business partner who left him to bear the consequences.

In a remote seaside village, the peaceful lives of the residents are upended when they spot a mysterious boat drifting toward the shore. Upon pulling it in, they find a weary and wounded stranger named Ayat, who has no memory of how he got there. He only recalls being attacked and barely escaping with his life. As Ayat tries to rebuild his sense of self and uncover the truth about his past, he becomes a source of curiosity and suspicion in the community.

When Mr. Esalat is looking for a topic for his TV show, he notices an advertisement in the newspaper about a missing girl. The picture of the missing girl is very familiar to him and he tries to remember where he saw it before. His wife Asieh is a teacher and at home she writes his mother's diary. When he searches for the address in that advertisement, he finds that it belongs to 30 years ago. Asieh is becoming interested in the missing girl too.

Golrokh, an Iranian author, struggles to settle her husband's debts caused by a business partner who left him to bear the consequences.

Tara, a young beautiful widow, returns with her two children from the country to her village. On her way home, she finds out that her grandfather has passed away. She distributes his belongings among her neighbours. But there remains an old sword that no one will accept. One day on the road, she meets an ancient warrior. He claims that his clan have sent him to take the old sword back. Tara finally submits the sword to him, but he returns upon realizing that he has fallen powerfully in love with her.

Chakameh, who has lost both her husband and child in a car accident, meets a guy who was recently released from prison. While she is under pressure from lawyers to compromise with the arrested driver, the guy tells her his story of his arrest and subsequent release from prison.

Persian Carpet is an omnibus film produced by Iran's National Carpet Center and Farabi Cinema Foundation where 15 renowned Iranian directors contributed films on the subject of Persian carpet. Carpets are the reflection of the cultural and historical identity of Iran.

Ghali-e sokhangoo in Persian Carpet

Ghali-e sokhangoo in Persian Carpet

As Abdollah prepares to get married to his long-time love, he hears calls for help during his wedding and leaves the ceremony for an adventure to find the truth.

Zamane and Saeid are neighbors. Despite their own arrangements to get married, their families are against this marriage. Zamane’s family’s reason for this opposition, especially her father’s, is the fact that Saeid is a disabled veteran who is on the wheelchair. Zamane, who’s had enough of her family’s strict behavior, offers Saeid to run away with her and then get married, but he doesn’t accept that.

Minoo who is married to Moosa recently, is moving to the new house. But Moosa receive a letter in which he being told to get back to the Minoo Island (a border island between Iran and Iraq), to dispatch a watch tower there from the period of war. Moosa who has a lot of memories of that place refuses to go there but his wife Minoo is insisting. Finally she manages to convince him and both go there.

A theater directed by Ghotboldin Sadeghi

In a remote seaside village, the peaceful lives of the residents are upended when they spot a mysterious boat drifting toward the shore. Upon pulling it in, they find a weary and wounded stranger named Ayat, who has no memory of how he got there. He only recalls being attacked and barely escaping with his life. As Ayat tries to rebuild his sense of self and uncover the truth about his past, he becomes a source of curiosity and suspicion in the community.

In Jana and Baladoor, acclaimed Iranian director Bahram Beyzaie revives the ancient art of shadow play in a poetic, mythical performance. Blending puppetry, music, and narration by Mojdeh Shamsaie and Mohsen Namjoo, the story follows four elemental siblings battling dark forces to restore harmony to the world. This groundbreaking work breathes new life into a nearly forgotten tradition.

In Jana and Baladoor, acclaimed Iranian director Bahram Beyzaie revives the ancient art of shadow play in a poetic, mythical performance. Blending puppetry, music, and narration by Mojdeh Shamsaie and Mohsen Namjoo, the story follows four elemental siblings battling dark forces to restore harmony to the world. This groundbreaking work breathes new life into a nearly forgotten tradition.