Sepideh Farsi Spotlight

Sepideh Farsi Spotlight

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Sepideh Farsi Spotlight
  • Homi D. Sethna, Filmmaker

    “He said Mr. Sethna, what are you? I said I’m a human being. Then… I’m an Indian. Then I suppose, I am a Zoroastrian, or if you like, a Parsi. Then my profession. I’m a filmmaker.”
    A journey through a very unusual old man’s life in Bombay.

  • The World is My Home

    This film is an investigation into identity in exile, through Iranian exile at the end of the century. It is a bit like the story of all those who experience uprooting. Of all those who, one day, tried to build a house based on the memory of another house they left behind, in their country.

  • Men of Fire

    An insight into today's Iran, through a simple device: following a group of firemen in Tehran. We shall see the country in its critical moments, when tongues untie, when gestures are more spontaneous, and doors open more easily.

  • The Journey of Maryam

    With an old photo in her pocket, Maryam sets out on a search for her father who she hasn’t seen for years. She arrives in a Teheran that she barely recognizes. Her search, which was rather desperate at the beginning, begins to make more and more sense as she encounters people along the way and pi...

  • Harat

    Starting from Paris, a little girl accompanies her mother - the filmmaker herself - to go to Iran, thus joining her grand-father and starting on a journey to Afghanistan, a country often dreamt of, but never visited since three generations, since her great grand-father - and being filmed on her t...

  • Tehran without Permission

    Tehran, seen not as a megalopolis at the foot of volcanoes, but as a character. Tehran, not as something inhabited, but as a self-inhabited thing, moving, changing its face, its mood, its body. Tehran, strange, familiar, savage, welcoming. Tehran, entered into even though you never knocked at the...

  • 7 Veils

    Little is known about Afghanistan, apart from a few
    clichés, the word Taliban, and a war which seems never
    to have stopped since the Soviet Union and the turning
    point reached in 2001. With this film, Sepideh Farsi took up again the documentary format she had started with, and using only one came...