Nader Saïvar

An unassuming mechanic is reminded of his time in an Iranian prison when he encounters a man he suspects to be his sadistic jailhouse captor.

Iranian director Jafar Panahi, who has been barred from leaving the country, arrives at a village on the Iran-Turkey border to supervise a film based on a real-life couple seeking passports to Europe being shot in Turkey, but both his stay and the production run into trouble.

Fifty-year-old Murad’s life is shaken to the core when he learns that his younger brother is gay. Murad would like to support his brother, but their traditional Muslim family is against it. As a result, he finds himself subjected to pressures from all sides – from his father, who has close ties to the local imam, and from his brother’s circle of friends as well. He would like to help everyone, but as he slowly falls into a spiral of conflicts and mounting difficulties, he finds that he, too, is in need of help. Another integral part of this family drama is the theme of migration and dialogue – not just between different religions, but within communities themselves.

Ayaz is an ordinary man who wishes for his own home. His brother-in-law left Iran for a long time due to his anti-government activities, but the news of his possible return reaches Ayaz. Concerned that he might have to leave home if his brother-in-law returns, Ayaz tells a small lie—that the secret police have searched their home. Ayaz’s lie becomes an excuse for the real secret police to track down his brother-in-law, and Ayaz finds himself in a situation where he is forced to report his neighbors and family.

Filmmaker Jafar Panahi and actor Behnaz Jafari travel to a tiny village after receiving a plea for help from a girl whose family has forbidden her from studying acting. Amusing encounters abound, but they soon discover that the local hospitality is rivaled by the desire to protect old traditions.

In an ordinary Iranian town, two mysterious strangers in a car begin to park daily at the same spot for hours. This unusual occurrence causes paranoia among the locals, who suspect them to be national security.

In Iran, the retired dance teacher Tarlan witnesses her friend Rana's murder by her husband, who is an important government figure. When the police refuse to investigate, Tarlan must decide whether to bow to political pressure or risk her reputation and livelihood in pursuit of justice.

A portrait of the Panahi family's matriarch as the pandemic makes it more difficult for intergenerational connection.