Mahaya Petrossian

Shadi Parsi rejects Arash Sepehri's move to London to apply for a Cambridge scholarship. Ten years later ...

A couple spend a night in Tehran.

Kamran and Moluk, middle-aged siblings, live penniless in the family's Tehran mansion, selling furniture to pay expenses. Their brother, who owns the house, has died suddenly, and his widow, Forugh, is coming from the provinces to visit. Kamran writes an elaborate script and hires a troupe of five actors to be the household servants. The purpose of the charade, which will seem real to Forugh, is to drive her mad, perhaps to suicide, so that Kamran and Moluk can inherit the house. The play is elaborate, Forugh is fooled and terrified, and the police can't substantiate her wild claims. She appears insane to them. All is headed for the mysterious last act.

Four women from various walks of life attempt to embezzle money from a credit institution

A hundred and fourteen famous Iranian theater and cinema actresses and a French star: mute spectators at a theatrical representation of Khosrow and Shirin, a Persian poem from the twelfth century, put on stage by Kiarostami. The development of the text -- long a favorite in Persia and the Middle East -- remains invisible to the viewer of the film, the whole story is told by the faces of the women watching the show.

I was suffocating, but I don't kill her. I love it.

A young couple needs money to cross the border. They decide to kidnap a movie actor, and on a rainy day, they put their plan into action. They hold him captive in a house in the north of the country and tell him to call his mother and tell her to prepare fifty million Tomans.

It narrates the life of a 40-year-old female doctor who is skilled and specialized in her field, but has problems in the field of marriage and choosing a spouse.