Director statement :

Tehran Streets is full of homes where sometimes long tragic stories happen; Homes with the absent owner or outwardly missing, maybe. The new regime appropriated many of these houses in the first years after Iran’s Islamic revolution. A significant part of these confiscated lands belonged to the artists (especially actors and directors) who the new regime banned from working. Subsequently, the government appropriated the central part of their properties.
Yet, this was just the beginning of another story; They had two choices: either leave their country and immigrate or stay in their motherland, with the price of isolation and silence. The regime didn’t allow them to appear in public places, so they needed to find a new identity (profession) and a new place to live. They yearned to return to their homes and lived with that house’s memories for years.
This is where the story and idea of the film started. A man returns to his old house, which the regime appropriated a long time ago, and now has another owner who will demolish it soon…
The exclusion continues until now, though. The regime is instituting the policy of rapidly cutting places, persons, and memories.
I’m focused on the idea of cutting off and vanishing important parts of Iran’s history. Still, some traces will remain despite all those removals; following these traces is exciting and vital to me. My main goal is to remind these subjects and find a suitable form to narrate them. I’m still researching this subject for my next project.

Director statement :

Tehran Streets is full of homes where sometimes long tragic stories happen; Homes with the absent owner or outwardly missing, maybe. The new regime appropriated many of these houses in the first years after Iran’s Islamic revolution. A significant part of these confiscated lands belonged to the artists (especially actors and directors) who the new regime banned from working. Subsequently, the government appropriated the central part of their properties.
Yet, this was just the beginning of another story; They had two choices: either leave their country and immigrate or stay in their motherland, with the price of isolation and silence. The regime didn’t allow them to appear in public places, so they needed to find a new identity (profession) and a new place to live. They yearned to return to their homes and lived with that house’s memories for years.
This is where the story and idea of the film started. A man returns to his old house, which the regime appropriated a long time ago, and now has another owner who will demolish it soon…
The exclusion continues until now, though. The regime is instituting the policy of rapidly cutting places, persons, and memories.
I’m focused on the idea of cutting off and vanishing important parts of Iran’s history. Still, some traces will remain despite all those removals; following these traces is exciting and vital to me. My main goal is to remind these subjects and find a suitable form to narrate them. I’m still researching this subject for my next project.