A short film on early 1950s Iran.

This program presents filmed sequences of a group of twenty-nine villagers from Sahneh who had been attacked by a rabid wolf. Filmed sequences of one villager taken at various times during his disease, are presented to illustrate the clinical course and manifestations of the disease in this man. The man is seen after he is bitten but before he manifests symptoms overtly, the third day of his disease, and the fifth day of the disease. Scenes taken as the patient dies are also included. A doctor is also shown as he apparently examined the man to verify that death has occurred.

The creation of Iannis Xenakis’ « Persephassa » at the Shiraz-Persepolis Art Festival.

There are only a few archives left of this piece, for its ring-like disposition around the audience made it difficult for people to record it or take pictures of it. When it was created in Persepolis, each percussionist was settled on the stump of a column of the Palace of Darius. The distance between them could go as far as 164 feet (50 metres).

Dash Akol is greatly respected in Shiraz as an honorable man who has lost his family's money through helping his friends. He has an enemy, however, named Kaka Rostam, a mean and spiteful person. Dash Akol, who is in his forties, falls in love with Marjan, daughter of the late Haji Samad, for whose estate he is the executor. But he keeps his love secret. One day a suitor asks for Marjan's hand, and Dash Akol considers it against his code of honor to refuse. On the night of the wedding, Dash Akol hands over responsibility for the family to the bridegroom. As he is leaving the house, however, Kaka Rostam is waiting for him and a fight ensues. Kaka Rostam stabs him in the back, but Dash Akol succeeds in killing him. On his deathbed, Dash Akol sends his parrot to Marjan with the confession of love he has taught it.

A man falls in love with a stranger woman. The woman has her young lover whom she secretly dates in an uninhabited house. The man discovers that the subject of his affection is in fact his friend’s wife and in despair takes his own life.

A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province. He has already hired Turkmen tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diegetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

Wounded by the police, a thief looks up his old friend in order to leave the proceeds of his theft with him. Instead, he finds that his friend is a drug addict. He sticks around to try and help his friend kick the habit; instead, both men are caught in a shootout with the police and...

Prince Ehtejab, one of the last remaining heirs of the Qajar royal family, is suffering from tuberculosis, which he knows is fatal. He spends his last days alone in the magnificent rooms of his wintry palace, from where he recollects the glory days of his ancestors as well as days of degradation. Among the latter are the gruesome manner in which his cruel grandfather murdered his mother and brother, and the way that he himself caused the death of his wife.

Morteza loves Zari but Zari's bankrupt father agrees to wed her to a wealthy man who will pay all his debts. Zari suicides in the night of the wedding and Morteza leaves the city (Jahrom) ...

An engineer attempts to keep his family safe from the revolutionary turmoil of 1978 Iran.

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.

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.

Valeh, a member of a leftist organization, is arrested by the SAVAK and sentenced to death. In prison, he reconsiders his relationships with members of his political cell, and begins to doubt the validity of the ideas for which he is condemned. At the same time, his comrades pressure him to make a sacrifice for their cause, and his beloved wife experiences personal problems and economic hardships.

An 8 year old boy must return his friend's notebook he took by mistake, lest his friend be punished by expulsion from school.

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?

After the earthquake of Guilan, a film director and his son travel to the devastated area to search for the actors from the movie the director made there a few years previously. In their search, they see how people who have lost everything in the earthquake still have hope and try to live life to the fullest.

A filmmaker named Hadi is sent to Croatia to complete his research for a film. Aziz, Hadi’s friend, gives him a cassette tape, a piece of image, and a half a piece of plaque in order to find a girl named Fatima. Alongside a Farsi-speaking Bosnian woman, Hanifa, Hadi begins his quest for Fatima.

Hundred to one hundred (Persian: صدبرابرصد‎‎) is a 1995 Iranian film written and directed by Hossein Shahabi (Persian: حسین شهابی)

Elevator (Persian: آسانسور‎‎) is a 1995 social drama Iranian film, written and directed by Hossein Shahabi (Persian: حسین شهابی)