Ahmad Yavari Shad

This film is about the interest of a person named Ahmed in cinema. Ahmed has been very interested in cinema since his childhood. He started working in cinema as a teenager because of his interest. Ahmed is currently a famous tea man in Iranian cinema.

Tuba works daily at a grueling textile factory in Iran, returning home every night to deal with the rest of her problematic family, which includes: a pregnant daughter whose husband beats her regularly; a teenage son, who's been getting into trouble due to his burgeoning career in radical politics; and an older son who goes to great lengths--such as attempting to sell the family's meager house--in order to get an engineering job in Japan as a means of getting out of Iran.

Forough Kia is a film-maker who got divorced from her husband many years ago and now is living with her son Maani. She decides to make a documentary about perfect mothers. In order to do so she meets many mothers to chose the perfect mother among them. She finally decides to quit making this film because of tiredness but doctor Rahbar wants her to continue. Maani is teasing her every day preventing her from marrying doctor Rahbar but she finally decides that she wants to marry him.

Director Bahman Farmanara's second film following a 20-year exile from his native Iran depicts the spiritual crisis of a middle-aged man. In the film's dreamlike opening scene, Dr. Reza Sepidbakht (Reza Kianian), a well-off Tehran gynecologist, thinks he runs over an angel while driving home at night with a call girl. The next morning at the hospital where he works, he is shown a comatose boy who is famous for having memorized the entire Koran. These two events cause him to rethink his cynical outlook on life and his relationships with his elderly father, wayward son, and the women he has mistreated since becoming estranged from his wife. When the boy awakens from his coma, Dr. Sepidbakht begins to look to him for answers.

A sensation when released in 1999 in Iran, Two Women charts the lives of two promising architecture students over the course of the first turbulent years of the Islamic Republic. Tahimine Milani creates this scathing portrait of those traditions - aided by official indifference - which conspire to trap women and stop them from realizing their full potential; the inclusion of frank depictions of domestic violence was hailed by many as a breakthrough in dealing with a long taboo subject.