Ebrahim Golestan

Set in a leper colony in the north of Iran, The House is Black juxtaposes "ugliness," of which there is much in the world as stated in the opening scenes, with religion and gratitude.

Hashem is a cab driver who finds an infant child in the back seat of his cab one night after he gives a ride to a young woman. Hashem and his girlfriend, Taji, try to cope with this unwanted child. Hashem insists on getting rid of the child, Taji on keeping him.

A poor rural farmer unearths an ancient burial chamber loaded with gold artifacts on his arid land, which plunges him into a deep descent of greed and madness. As his growing obsession consumes him, the overwhelming chaos impacts everyone around him.

Ebrahim Golestan's contribution to an anthology film about the rites of betrothal in four separate countries.

The National Iranian Oil Company (NIOC), formed upon nationalization of the British Anglo-Iranian Oil Company, employed film systematically, producing many films on oil and petrochemical subjects. It also made films depicting Iran's progress and modernization, highlighting the role of the Shah and NIOC in that direction. Under its auspices, Ebrahim Golestan directed A FIRE (1961), a highly visual treatment of a seventy-day oil well fire in the Khuzestan region of southwestern Iran. This film was edited by the Iranian poet Forough Farrokhzad and won two awards at the Venice Film Festival in 1961.

A documentary on Hajj pilgrimage.

The Crown Jewels of Iran is a 1965 film commissioned and then banned by the Shah’s cultural ministry, featuring dazzling edits and camera movements and a charged narration assaulting economic disparities.

The banned and unseen Harvest and Seed is a sardonic look at the conditions of a poverty-stricken Iranian village after the so-called agrarian reforms of the early 1960s, which amounted to a corrupt land grab rather than an equitable redistribution of wealth. This film recorded in village in south of fars, Shiraz, Esmaeel abad