Iranian Directors: Best to Worst

Talebi was interested in several art forms already in the age of ten in an art institute for children and the youth. While studying film and tv programme directing at the university he made about ten short films for children. Later he worked for the television writing and directing over 50 video programmes and various educational, documentary and fictional pictures.

Abbas Ali Hatami was born in Tehran, Iran in 1944. He graduated from the College of Dramatic Arts and began his professional career as a writer of short TV screenplays and also as a playwright. Among his plays are: The Demon and the Bald Hassan, Adam and Eve, The Fisherman's Story, City of Oranges, Talisman and Silk. He began his professional film career in 1970 by writing and directing Hassan, the Bald (1970). In the following years, he developed a personal style that was characterized by melodious dialogue, traditional Iranian ambiance created through architecture and set design. His last film, World Champion Takhti, remained unfinished because of his death in 1996 due to cancer.

Fereydun Gole was an Iranian screenwriter, film director, and film editor. He was active in producing urban drama films throughout the 1970s, dealing with such issues as the social stratification of Tehran. His most famous film was Beehive. After he died in 2005, the 2006 documentary film Iran: A Cinematographic Revolution was dedicated to him.

Asghar Farhadi is an Iranian film director, screenwriter, and producer. He is considered one of the most prominent filmmakers of Iranian cinema as well as world cinema in the 21st century. His films have gained recognition for their focus on the human condition, and portrayals of intimate and challenging stories of internal family conflicts. In 2012, he was included on the annual Time 100 list of the most influential people in the world. That same year, he also received the Legion of Honour from France.

Farhadi was born in Isfahan, Iran. At the age of 15, in 1987, he joined the Isfahan branch office of the Iranian Youth Cinema Society, which had been established for 4 years earlier and he made several short films. He is also a graduate of theatre, with a BA in dramatic arts and MA in stage direction from University of Tehran and Tarbiat Modares University, respectively.

While completing his studies, he wrote a number of radio plays for Iran's national broadcasting service and directed several television programs. In 2001 Farhadi co-wrote the screenplay for the political satire Ertefa-e past (Low Heights, 2002), with famed war film director, Ebrahim Hatamikia.

Farhadi's first feature film, Dancing in the Dust (2003), tells the story of a young man who is forced to divorce his wife and go hunting snakes in the desert in order to repay his debts to his in-laws. His next film, The Beautiful City (2004), is about a young man who is sentenced to death for a crime he did not commit.

Farhadi's breakthrough came with his third film, About Elly (2009), which won the Golden Bear at the Berlin Film Festival. The film tells the story of a group of friends who go on a weekend trip to the Caspian Sea, and the secrets that are revealed over the course of the weekend.

Farhadi's next film, A Separation (2011), won the Academy Award for Best Foreign Language Film. The film tells the story of a middle-class Iranian couple who are going through a divorce, and the moral dilemmas they face as they try to decide what is best for their young daughter.

Farhadi's subsequent films, The Past (2013) and The Salesman (2016), were also critically acclaimed. The Salesman won a second Academy Award for Best Foreign Language Film.

Farhadi's latest film, A Hero (2021), was selected to compete for the Palme d'Or at the 2021 Cannes Film Festival. The film tells the story of a man who is released from prison and tries to win back his wife's trust.

Farhadi's films are known for their their complex and suspenseful plots, their realistic characters, and their exploration of moral dilemmas. His films often deal with themes of family, relationships, and social class.

Farhadi is a master of creating suspense, and his films are often compared to those of Alfred Hitchcock. He is also a skilled director of actors, and his films have featured some of the most celebrated Iranian actors, including Shahab Hosseini, Leila Hatami, and Taraneh Alidoosti.

In 2022, Farhadi was accused of plagiarism by a former student, who claimed that he had stolen the idea for his film A Hero from a documentary she had made. Farhadi denied the allegations, and a court in Iran eventually ruled in his favor. However, the allegations have tarnished Farhadi's reputation and raised questions about his creative process.

Asghar Farhadi is one of the most important filmmakers of our time. His films are both entertaining and thought-provoking, and they offer a unique insight into Iranian society and culture. He is a true auteur, and his work is sure to be studied and admired for many years to come.

Khosrow Haritash was born in 1932 in Tehran, Iran. He was a director and writer, known for Adamak (1971), Divine One (1976) and The Custodian (1976). He died in 1980 in Tehran, Iran.

Sohrab Shaheed Salles was born in Tehran in 1944 to a middle-class family and lived in Tehran. Shahid Saless was a storyteller as a child, with a passion for visualizing his narrations. During his teenage years, he showed an imaginative talent, writing and acting in plays with friends. In 1963, Shahid Saless left Iran for Vienna, where he attended a film school and an acting school at the same time, but his studies were discontinued there in 1967 due to a sudden diagnosis of tuberculosis. In the midst of treatment, he left for Paris to continue his film studies at the prestigious Independent Conservatory of French Cinema, and shortly thereafter, in 1968, he returned to Iran. Upon his return to Tehran, Shahid Saless began work with the Iranian Ministry of Culture as a documentary filmmaker, where he produced multiple short films and documentaries, partly on the topic of traditional dance amongst different Iranian ethnic groups.

In the course of his stay in Iran (1968-74), he produced two major feature films, Yek ettefaq-e sada (A simple event, 1973) and Tabiat-e bijan (Still life, 1974), both of which won major international awards for their social realist depiction of life in Iran and for their innovative cinematographic and experimental style. In Yek ettefaq-e sade Shahid Saless entered the film scene with a distinctive style, reporting on the daily life of a ten-year-old villager, showing his struggles to meet ends through smuggling fish. In Tabiat-e bijan the life of a meagerly paid railroad guard worker who is forced to retire for a younger guard is portrayed. In the course of this film, the distressful life of working class is depicted in a critical light. Shahid Saless also made several short films for the Ministry of Culture and Arts. He made many commissioned films on the local folkloric dances of various ethnic groups. He also started making short documentaries depicting the unnerving condition of life among the working class. Unsurprisingly, the political subversive message of these films was disliked by the government, and Shahid Saless was forced to leave the country.

Settled in Germany in 1974, Shahid Saless started producing documentaries for the German media. The movies he made gained him further international recognition, and he continued making documentary and feature films for major German television programs. At this time, Ramin Molai (1939-2009) worked as a cameraman for many of his German movies produced in Berlin. In Germany, his television productions always had a distinguishing artistic quality. He made his last movie, Rosen für Afrika, in 1991 for German television. In 1992, he left Germany for the United States to join his family. He died from a chronic illness related to his liver from which he suffered throughout his life.

Shahid Saless is known to be a pioneer of the new wave of Iranian cinema. In his own words, his cinema intends to document the "antagonism between man and society" (Shahid Saless). In the course of his oeuvre, he viewed the role of cinema as "to make conscious of indignity and inhumanity of life".

Dariush Mehrjui was born to a middle-class family in Tehran. He showed interest in painting miniatures, music, and playing santoor and piano. He spent a lot of time going to the movies, particularly American films which were un-dubbed and inter-spliced with explanatory title cards that explained the plot throughout the films. At this time Mehrjui started to learn English so as to better enjoy the films. The film that had the strongest impact on him as a child was Vittorio De Sica's Bicycle Thieves. At the age of 12, Mehrjui built a 35 mm projector, rented two-reel films and began selling tickets to his neighborhood friends. In 1959, Mehrjui moved to the United States to study at University of California, Los Angeles' (UCLA) Department of Cinema. One of his teachers there was Jean Renoir, whom Mehrjui credited for teaching him how to work with actors. Mehrjui was dissatisfied with the film program due to its emphasis on the technical aspects of film and the quality of most of the teachers. He switched his major to philosophy and graduated from UCLA in 1964. Mehrjui started his own literary magazine in 1964, Pars Review. The magazine's intention was to bring contemporary Persian literature to western readers. During this time he wrote his first script with the intention of filming it in Iran. He moved back to Tehran in 1965. Back in Tehran, Mehrjui found employment as a journalist and screenwriter. From 1966 to 1968 he was a teacher at Tehran's Center for Foreign Language Studies, where he taught classes in literature and English language. He also gave lectures on films and literature at the Center for Audiovisual Studies through the University of Tehran.

Dariush Mehrjui made his debut in 1966 with Diamond 33, a big budget parody of the James Bond film series. The film was not financially successful. But his second feature film, Gaav, brought him national and international recognition. The film Gaav, a symbolic drama, is about a simple villager and his nearly mythical attachment to his cow. The film is adapted from a short story by renowned Iranian literary figure Gholamhossein Sa'edi. Sa'edi was a friend of Mehrjui and suggested the idea to him when Mehrjui was looking for a suitable second film, and they collaborated on the script. Through Sa'edi, Mehrjui met the actors Ezzatolah Entezami and Ali Nassirian, who were performing in one of Sa'edi's plays. Mehrjui would work with Entezami and Nassirian throughout his career. The film's score was composed by musician Hormoz Farhat. The film was completed in 1969. In the film, Entezami stars as Masht Hassan, a peasant in an isolated village in southern Iran. Hassan has a close relationship with his cow, which is his only possession (Mehrjui has said that Entezami even resembled a cow in the film). When other people from Hassan's village discover that the cow has been mysteriously killed, they decide to bury the cow and tell Hassan that it has run away. While in mourning for the cow, Hassan goes to the barn where it was kept and begins to assume the cow's identity. When his friends attempt to take him to a hospital, Hassan commits suicide. Gaav was banned for over a year by the Ministry of Culture and Arts, despite being one of the first two film in Iran to receive government funding. This was most likely due to Sa'edi being a controversial figure in Iran. His work was highly critical of the Pahlavi government, and he had been arrested sixteen times. When it was finally released in 1970, it was highly praised and won an award at the Ministry of Culture's film festival, but it was still denied an export permit. In 1971, the film was smuggled out of Iran and submitted to the Venice Film Festival where, without programming or subtitles, it became the largest event of that year's festival. It won the International Critics Award at Venice, and later that year, Entezami won the Best Actor Award at the Chicago International Film Festival. Along with Masoud Kimiai's Qeysar and Nasser Taqvai's Calm in Front of Others, the film Gaav initiated the Iranian New Wave movement and is considered a turning point in the history of Iranian cinema. The public received it with great enthusiasm, despite the fact that it had ignored all the traditional elements of box office attraction. It was screened internationally and received high praise from many film critics. Several of Iran's prominent actors (Entezami, Nassirian, Jamshid Mashayekhi, and Jafar Vali) played roles in the film. While waiting for Gaav to be released and gaining international recognition, Mehrjui was busy directing two more films. In 1970 he shot Agha-ye Hallou (Mr. Naive), a comedy which starred and was written by Ali Nassirian. The film also starred Fakhri Khorvash and Entezami. In the film, Nassirian plays a simple, naive villager who goes to Tehran to find a wife. While in the big city he is treated roughly and constantly fooled by local hustlers and con artists. When he goes into a dress shop to purchase a wedding gown, he meets a beautiful young woman (Fakhri Khorvash) and proposes to her. The young woman turns out to be a prostitute who rejects him and takes his money, spending him back to his village empty handed but more world-wise. Agha-ye Hallou was screened at the Sepas Film Festival in Tehran in 1971 where it won awards for Best Film and Best Director. Later that year it was screened at the 7th Moscow International Film Festival. It was a commercial success in Iran. After finishing Agha-ye Hallou in 1970, Mehrjui traveled to Berkeley, California and began writing an adaptation of Georg Büchner's Woyzeck for a modern-day Iranian setting. He went back to Iran later in 1970 to shoot Postchi (The Postman), which starred Nassirian, Entezami and Jaleh Sam. In the film, Nassirian plays Taghi, a miserable civil servant whose life spirals into chaos. He spends his days as an unhappy mail carrier and has two night jobs in order to pay his debts. His misery has caused impotence and he is experimented upon by an amateur herbalist who is one of his employers. His only naive hope is that he will win the national lottery. When he discovers that his wife is the mistress of his town's wealthiest landowner, Taghi escapes to the local forest where he experiences a brief moment of peace and harmony. His wife comes looking for him, and in a fit of rage Taghi murders her and is eventually caught for his crime. Postchi faced the same censorship issues as Gaav, but was eventually released in 1972. It was screened in Iran at the 1st Tehran International Film Festival and at the Sepas Film festival. Internationally it was screened at the Venice Film Festival, where it received a special mention, the 22nd Berlin International Film Festival, where it received the Interfilm Award, and the 1972 Cannes Film Festival, where it was screened as part of the Directors' Fortnight. In 1973 Mehrjui began directing what was to be his most acclaimed film, The Cycle Mehrjui got the idea for the film when a friend suggest that he investigate the black market and illicit blood traffic in Iran. Horrified with what he found, Mehrjui took the idea to Gholamhossein Sa'edi, who had written a play on the subject, "Aashghaal-duni". The play became the basis for the script, which then had to be approved by the Ministry of Culture before production could begin. With pressure from the Iranian medical community, approval was delayed for a year until Mehrjui began shooting the film in 1974. The film stars Saeed Kangarani, Esmail Mohammadi, Ezzatollah Entezami, Ali Nassirian and Fourouzan. In the film, Kangarani plays Ali, a teenager who has brought his dying father (Mohammadi) to Tehran in order to find medical treatment. They are too poor to afford any help from the local hospital, but Dr. Sameri (Entezami) offers them money in exchange for giving illegal and unsafe blood donations at a local blood bank. Ali begins giving blood and eventually works for Dr. Sameri in luring blood donors, despite spreading diseases in the process. Ali meets another doctor (Nassirian) who is attempting to establish a legitimate blood bank, and helps Dr. Sameri in sabotaging his plans. Ali also meets and becomes the lover of a young nurse, played by Fourouzan. As Ali becomes more and more involved in the illegal blood trafficking, his father's health worsens until he finally dies and Ali must decide what path his life will take. The films title, Dayereh mina, refers to a line from a poem by Hafiz Shirazi: "Because of the cycle of the universe, my heart is bleeding." The film was co-sponsored by the Ministry of Culture but encountered opposition from the Iranian medical establishment and was banned for three years. It was finally released in 1977, with help from pressure from the Carter administration to increase human rights and intellectual freedoms in Iran. Because of a crowded film marketplace, the film premiered in Paris, and then was released internationally where it received rave reviews and was compared to Luis Buñuel's Los Olvidados and Pier Paolo Pasolini's Accattone. The film won the Fédération Internationale de la Presse Cinématographique Prize at the Berlin Film Festival in 1978. During this time, Iran was going through great political changes. The events leading up to the Iranian Revolution of 1979 were causing a gradual loosening of strict censorship laws, which Mehrjui and other artists had great hopes for. While waiting for The Cycle to be released, Mehrjui worked on several documentaries. Alamut, a documentary on the Isamailis, was commissioned by Iranian National Television in 1974. He was also commissioned by the Iranian Blood Transfusion Center to create three short documentaries about safe and healthy blood donations. The films were used by the World Health Organization in several countries for years. In 1978, the Iranian Ministry of Health commissioned Mehrjui to make the documentary Peyvast kolieh, about kidney transplants.

After the Islamic revolution Mehrjui directed Hayat-e Poshti Madrese-ye Adl-e Afagh (The School We Went to) in 1980. The film stars Ezzatollah Entezami and Ali Nassirian and is from a story by Fereydoon Doostdar. The film was sponsored by the Iranian Institute for the Intellectual Development of Children and Young Adults, whose filmmaking department was co-founded by Abbas Kiarostami. The film, seen as an allegory for the recent revolution, is about a group of high school students who join forces and rebel against their authoritative and abusive school principal. Film critic Hagir Daryoush criticized both the film and Mehrjui as propaganda and a work of the new regime more than Mehrjui himself. In 1981, Mehrjui and his family traveled to Paris and remained there for several years, along with several other Iranian refugees in France. During this time he made a feature-length semi-documentary about the poet Arthur Rimbaud for French TV, Voyage au Pays de Rimbaud in 1983. It was shown at the 1983 Venice Film Festival and at the 1983 London Film Festival. In 1985, Mehrjui and his family returned to Iran and Mehrjui resumed his film career under the new regime. In Hamoun (1990), a portrait of an intellectual whose life is falling apart, Mehrjui sought to depict his generation's post-revolutionary turn from politics to mysticism. Hamoon was voted the best Iranian film ever by readers and contributors to the Iranian journal Film Monthly. In 1995, Mehrjui made Pari, an unauthorized loose film adaptation of J. D. Salinger's book Franny and Zooey. Though the film could be distributed legally in Iran since the country has no official copyright relations with the United States, Salinger had his lawyers block a planned screening of the film at Lincoln Center in 1998. Mehrjui called Salinger's action "bewildering," explaining that he saw his film as "a kind of cultural exchange." His follow-up film, 1997's Leila, is a melodrama about an urban, upper-middle-class couple who learn that the wife is unable to bear children. Modern Iranian cinema begins with Dariush Mehrjui. Mehrjui introduced realism, symbolism, and the sensibilities of art cinema. His films have some resemblance with those of Rosselini, De Sica and Satyajit Ray, but he also added something distinctively Iranian, in the process starting one of the greatest modern film waves. The one constant in Mehrjui's work has been his attention to the discontents of contemporary, primarily urban, Iran. His film The Pear Tree (1999) has been hailed as the apotheosis of the director's examination of the Iranian bourgeoisie. Since his film The Cow in 1969, Mehrjui, along with Nasser Taqvai and Masoud Kimiai, has been instrumental in paving the way for the Iranian cinematic renaissance, so called the "Iranian New Wave."

Born in Tehran Iran in 1959, Iraj Tahmasb graduated from the University of Tehran in Dramatic Arts and Theatre, where he is now teaching the Masters Program. As a teenager Tahmasb taught puppetry, script writing and film making in varies institutes. His active professional career began in 1979 when he started stage performance and directing in theatrical productions intended for young audiences. Inspired by the revolutionary atmosphere of the period, he staged a number of political and controversial plays, including An Eye For An Eye, The Bear That Wanted to Remain a Bear , (based on Jorg Stainer's famous story), Olduz and the crows ,(based on a popular story by Iranian writer Samad Behrangi), A Pair Of Shoes For Zahara, and A Delicate Story. Tahmasb is best known for his Trilogy and Series Kolah Ghermezi ( Red Hat and Cousin ) which has taken box offices all-time Records .

Massoud Kimiaei was born in Tehran in 1941. He became well known when in 1969 he directed his second film, Gheisar (1969), which was considered a turning point in the Iranian cinema; he depicted the ethics and morals of the romanticized poor working class of the Qarun's Treasure (1965) genre through his main protagonist, the titular Gheisar (1969). But Kimiaei's film generated another genre in Iranian popular cinema: the tragic action drama.

Without any academic training in cinema or theater, and with only a few years of experience as assistant director, Kimiai became a historical figure in the Iranian cinema. He learned film making from the movies, and of his early days of contact with the cinema. He recalls how he used to spend hours outside the movie theaters of Tehran, listening to the sound track of the films blaring from the defective loudspeakers fixed outside the cinema, and trying to visualize the action with the help of oral synopsis furnished by friends who had seen the movie.

His other lively memory from his childhood is the scene of battle between Rostam and Ashkbous (heroes of Ferdowsi's Book of Kings) painted on the back of the cart in which his father carried flour for bakeries. When the cart was in motion, the combatants seemed animated to the young Massoud who habitually walked behind the cart and tried to guess the end of the battle.

Kimiai had difficult childhood. He was restless and often got into fights, which, at times, ended in the police station.

Then came the period when Kimiai directed his energies to books. He read voraciously, especially books on cinema. That was followed by frequent visits to film studios in search of a job, until he met film director Samuel Khachikian, from whom he learned the first lessons in the techniques of film making, and began his film career in 1965 as Khachikian's assistant. But he was too young to be allowed independent work, and for some time, he had to be content with preparing publicity materials for American films.

When he first proposed a screenplay from which to make a film, the head of studio wouldn't believe Kimiai could make a film until the ambitious young man made a one-minute scene from his screenplay and that convinced the studio bosses that he could make professionally acceptable films.

Naser Taghvai is an Iranian film director and screenwriter. Naser Taghvai was born in Abadan, Iran. After early experiences as a story writer, he began filming documentaries in 1967. He made his debut, Tranquility in the Presence of Others, in 1970 and gained the attention of Iranian critics. He became famous by directing the TV series My Uncle Napoleon. His concern for the ethnography and atmosphere of southern Iran is notable in his films. Most of his works have been based on novels. Captain Khorshid is an adaptation of Ernest Hemingway's To Have and Have Not, which won the third prize at the 48th Locarno International Film Festival in Switzerland in 1988. In 1999 he directed a segment of the film Tales of Kish, which was nominated for the Palme d'Or at the Cannes Film Festival.

Amir Naderi is one of the most influential figures of 20th century Persian cinema. He developed his knowledge of cinema by watching films at the theater where he worked as a boy, reading film criticism, and making relationships with leading film critics. He began his career with still photography for some notable Iranian features. In the 1970s, Mr. Naderi turned to directing, and made some of the most important features of the New Iranian Cinema. In 1971, his directorial debut, GOODBYE, FRIEND, was released in Iran. Amir Naderi first came into the international spotlight with films that are now known as cinema classics, THE RUNNER (1985), and WATER, WIND, DUST (1989). THE RUNNER is considered by many critics to be one of the most influential films of the past quarter century. After expatriating to New York in the early '90s, Amir Naderi continued to produce new work. He was named a Rockefeller Film and Video Fellow in 1997, and has served as an artist in residence and instructor at Columbia University, the University of Las Vegas, and New York's School of Visual Arts. His US films have premiered at the Film Society of Lincoln Center/ MoMA's New Directors/ New Films series, the Venice, Cannes, Tribeca, and Sundance Film Festivals. His film SOUND BARRIER (2005) had its premiere at the Tribeca Film Festival and won the prestigious Roberto Rossellini Prize at the Rome Film Festival. His last feature film VEGAS: BASED ON A TRUE STORY (2008) was in competition at the Venice Film Festival, where it won the CinemAvvenire Best Film in Competition Prize and the SIGNIS Award. The film was also shown at the Tribeca Film Festival in New York, the Pusan International Film Festival and CineVegas in Las Vegas. His last three films MARATHON, SOUND BARRIER, and VEGAS were all shown at the FILMeX Film Festival in Tokyo.

Ebrahim Golestan is an Iranian filmmaker and literary figure with a career spanning half a century. He has lived in Sussex, United Kingdom, since 1975. He was closely associated with the controversial and eminent Iranian poet Forough Farrokhzad until her death, whom he met at his studio in 1958. He is said to have inspired her to live more independently. Golestan was married to his cousin, Fakhri Golestan. He is the father of Iranian photojournalist Kaveh Golestan, and Lili Golestan, translator and owner and artistic director of the Golestan Gallery in Tehran, Iran. His grandson, Mani Haghighi, is also a film director. His other grandson Mehrak, is a rapper. Golestan was a member of Tudeh Party of Iran, but he broke away in January 1948. After Farrokhzâd's death, Golestân was protective of her privacy and memory. For example, in response to the publication of a biographical/critical study by Michael Craig Hillmann called A Lonely Woman: Forugh Farrokhzad and Her Poetry (1987), he published a lengthy attack against Hillmann in a Tehran literary magazine, to which Hillmann responded to the attack at length in an article part of which was also published in the same Tehran literary magazine and which is available online at Academia.edu/Michael Hillmann under the title "Az Shâ'eri-ye Nâder Nâderpur to Fârsi'khâni dar Qalb-e Tekzâs, Javâbiyeh'i be Ebrâhim Golestân." In February 2017, on the occasion of 50 years after Farrokhzad's death, the 94-year-old Golestan broke his silence about his relationship with Forough, speaking to the Guardian's Saeed Kamali Dehghan. "I rue all the years she isn't here, of course, that's obvious," he said. "We were very close, but I can't measure how much I had feelings for her. How can I? In kilos? In meters?"

Born 1923 in Tabriz to a family of Armenian immigrants. Khachikian's father escaped the Armenian Genocide in 1915 and settled in Tabriz. His mother admired cinema and the arts and often took her children to the theater. Samuel Khachikian published his first poem "The Prison" in the Armenian newspaper Alik when he was nine. Five years later, he gave his first stage performance in Tabriz in a play titled "Seville". He completed his education in History and Journalism, and wrote eight plays which went on stage not only in different cities of Iran, but also in Los Angeles, San Francisco and Greece.

Khachikian made his first film in 1953, titled "The Return". He was among the first and few directors who used the decoupage technique on the film set, preparing the complete shooting script in advance. The success of his works attracted a lot of attention to the advantages of this filmmaking approach. As an innovative filmmaker, he turned the production of murder mysteries into a popular new wave in the Iranian filmmaking. He made the first ever movie trailer in the history of Iranian cinema for the movie "A Girl from Shiraz" in 1954. Some of his films such as "The Strike" and "The Eagles" were box office hits of their times.

Samuel's son Edwin Khachikian is a director in Tehran, Iran. Samuel's brother Souren Khachikian was also heavily involved in the production of his films. Souren's grandson Ara H. Keshishian is working as a film editor in Hollywood.

His 1956 film A Party in Hell was entered into the 8th Berlin International Film Festival.

He died on October 22, 2001 at the age of seventy-eight.

Jalal Moghadam was born on 30 April 1929 in Nishapur, Persia. He was an actor and director, known for Escape from the Trap (1971), 3 Crazies (1968) and The Window (1970). He died on 18 April 1996 in Tehran, Iran.

Mahmoud Koushan (or Mahmoud Kushan) is one of the pioneer Iranian cinematographers. He was born in Tehran in 1933, and is the brother of filmmaker Esmail Koushan, AKA the Father of Iranian Cinema.

He was the first Iranian filmmaker who went to Italy and Germany for technical training at Cinecittà Studios, Agfa Laboratories and Arriflex Cameras. He worked as a Lab Technician, Sound Recordist, Editor, Assistant Camera and Gaffer before he shot his first film, Amir Arsalan, as cinematographer in 1955.

He directed his first film, Nouveau Riche in 1961 and was the first to shoot Iranian CinemaScope & color feature films. Broken Spell (1958) was recognized at the Berlin Film Festival for his color cinematography. He won Best Cinematography for Joseph and Zoleika at the Sepas Film Festival in 1968.

He was banned from working as a filmmaker after the Iranian 1979 revolution. He has worked on some productions as cinematographer in the early 1990s in Iran.

Mahmoud Koushan passed at age 88 in Los Angeles, CA in February 2021.

Mohamad Reza Honarmand is known for The Visit (1995), The Changed Man (1998) and Thief of Dolls (1990).

Farzan M. Deljou is a visionary in the world of cinema and literature, whose journey began at the tender age of thirteen with the publication of his first mystery novel. By the time he reached twenty-one, Deljou had already penned sixteen gripping mystery novels, including notable titles such as Mallet, A Thousand Bullets, A Puddle of Blood, The Night Whisperer, The Top Man, and Invincible.

Deljou's cinematic debut came with the groundbreaking film Yaran, which he wrote, directed, starred in, and produced. The film's unprecedented success, particularly among the youth, was met with immense acclaim, though it was censored after a triumphant seventeen-day run in theaters. As the founder of the "New Wave" in Iranian Film and Cinema, Deljou redefined the industry and set new benchmarks for creativity and storytelling. This early success paved the way for him to collaborate with the most esteemed producers in the industry, resulting in four more celebrated films. Night of Foreigners garnered a nomination at the Tehran Film Festival, while Weeds won "Best Film" and "Best Actor" by popular vote. His films The Fish Die on Soil and The Scent of Wheat continued to captivate audiences, with the latter making history by prompting cinemas across Iran to add a 1 AM showing to meet the overwhelming demand.

Deljou's creative pursuits extended beyond the Iranian film industry. In America, he wrote, directed, and produced five social comedy plays, further showcasing his versatility. His literary accomplishments include the 2016 publication of Totally Private, a profound reflection on his six-decade-long social and artistic journey.

As of 2024, Farzan Deljou is in the midst of filming his first English-language motion picture, Charlie Buster, and has completed the script for Uber Impossible, an action drama in which he stars, writes, produces, and directs. Deljou's remarkable career is a testament to his boundless creativity and enduring impact on both literature and film.

Mehdi Fakhimzadeh is an Iranian actor, director, and writer.

His first experience as an actor was in "Chubby Boy" by Reza Mir Louhi. He has starred in "Ghorbatiha" by Jamshid Varzandeh, "Brothers in Blood" by Kamran Ghadakchian, "Azar, Shahdokht, Parviz and Others" directed by Behrouz Afkhami. He has featured as a director in movies such as "Mojazat", "Dar Shahr Khabari Nist", "Ferri Dast Ghashang" and also series such as "Sleep and Wake", "Tanhatarin Sardar" and "Velayat-e Eshgh.

Jafar Panahi (Born 11 July 1960) is an Iranian film director, screenwriter, and film editor, commonly identified with the Iranian New Wave film movement. After several years of making short films and working as an assistant director for fellow Iranian film-maker Abbas Kiarostami, Panahi achieved international recognition with his feature film debut, The White Balloon (1995). The film won the Caméra d'Or at the 1995 Cannes Film Festival, the first major award won by an Iranian film at Cannes. Panahi was quickly recognized as one of the most influential film-makers in Iran. Although his films were often banned in his own country, he continued to receive international acclaim from film theorists and critics and won numerous awards, including the Golden Leopard at the Locarno International Film Festival for The Mirror (1997), the Golden Lion at the Venice Film Festival for The Circle (2000), and the Silver Bear at the Berlin Film Festival for Offside (2006). His films are known for their humanistic perspective on life in Iran, often focusing on the hardships of children, the impoverished, and women. Hamid Dabashi has written, "Panahi does not do as he is told - in fact he has made a successful career in not doing as he is told." After several years of conflict with the Iranian government over the content of his films (including several short-term arrests), Panahi was arrested in March 2010 along with his wife, daughter, and 15 friends and later charged with propaganda against the Iranian government. Despite support from filmmakers, film organizations, and human rights organizations from around the world, in December 2010 Panahi was sentenced to a six-year jail sentence and a 20-year ban on directing any movies, writing screenplays, giving any form of interview with Iranian or foreign media, or from leaving the country except for medical treatment or making the Hajj pilgrimage. While awaiting the result of an appeal he made This Is Not a Film (2011), a documentary feature in the form of a video diary in spite of the legal ramifications of his arrest. It was smuggled out of Iran in a flash drive hidden inside a cake and shown at the 2011 Cannes Film Festival. In February 2013 the 63rd Berlin International Film Festival showed Closed Curtain (2013) by Panahi and Kambuzia Partovi in competition; Panahi won the Silver Bear for Best Script. Panahi's new film Taxi (2015) premiered in competition at the 65th Berlin International Film Festival in February 2015 and won Golden Bear, the prize awarded for the best film in the festival.

Mohamad Reza Aalami is known for Secrets (2005), The Viper (1993) and Saghi (2002).

Bahram Beizai started skipping school from around the age of 17 in order to go to movies which were becoming popular in Iran at a rapid pace. This only fed his hunger to learn more about cinema and the visual arts. By 1961 he had already spent a lot of time studying-and researching- ancient persian and pre-Islamic culture and literature. This led him to studying Eastern Theatre and traditional Iranian theatre & arts which would help him formulate a new non-western identity for Iranian theatre. By 1961 he had already published numerous articles in various Arts and Literary Journals. In 1962 he made his first short film (4 minutes) in 8mm format. In the next two years he wrote several plays and published "Theatre in Japan". In 1971 he made his first feature film Ragbar ( Downpour ) which to this day remains one of the best Iranian films ever made.

Alireza Raisian is known for Time to Love (2015), Love at 40 (2010) and Reyhaneh (1990).

Kianoush Ayari was born on 14 May 1951 in Ahvaz, Khuzestan, Iran. He is an editor and director, known for To Be or Not to Be (1998), The Abadanis (1993) and Wake Up, Arezoo! (2005).

Saeed Motalebi is known for Leopard at Night (1975), Howff of Anger (1971) and Dada (1983).

Graduated in the field of film directing from The Faculty of Dramatic Arts and joined the Iranian TV in 1973 beginning her career as continuity girl and assistant director. Later on, she made a number of short documentaries and directed her first picture 'Kharej az Mahdudeh (1986)'. Her next films are 'Zard-e Ghanari (1988)', 'Pul-e Khareji (1989)', 'Nargess (1992)' and 'Rusari Abi (1995)'.