This film is based on retrospective and imagination, text and mobile images, and is also an attempt to re-materialize movies and film devices (apparatuses). During an excursion to Tehran, artists and authors revisited the cinema "street" burned during the Islamic Revolution in 1979. They used pre-revolutionary Iranian films and cinema venues as lenses for analyzing geopolitics and oil politics. Words, archives, mobile images, film materials, and sounds are interspersed with real and fictitious narrative structures, showing "silent" historical manipulation and the post-revolutionary state of Iranian society. The entanglement between war, desire, and matter points to an artificial doomsday "paradise" -- and also asks the audience from the historical level to which the radical revolution is spreading to the present.
0.0/10This film is based on retrospective and imagination, text and mobile images, and is also an attempt to re-materialize movies and film devices (apparatuses). During an excursion to Tehran, artists and authors revisited the cinema "street" burned during the Islamic Revolution in 1979. They used pre-revolutionary Iranian films and cinema venues as lenses for analyzing geopolitics and oil politics. Words, archives, mobile images, film materials, and sounds are interspersed with real and fictitious narrative structures, showing "silent" historical manipulation and the post-revolutionary state of Iranian society. The entanglement between war, desire, and matter points to an artificial doomsday "paradise" -- and also asks the audience from the historical level to which the radical revolution is spreading to the present.
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