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A satirical comedy about a poor farmer who, while plowing his field, accidentally uncovers an ancient burial chamber loaded with gold artifacts. Realizing that the trove would somehow liberate him from his bumpkin existence, he brings pieces of it to a jeweler in the city.
The National Iranian Oil Company (NIOC), formed upon nationalization of the British Anglo-Iranian Oil Company, employed film systematically, producing many films on oil and petrochemical subjects. It also made films depicting Iran's progress and modernization, highlighting the role of the Shah and NIOC in that direction. Under its auspices, Ebrahim Golestan directed A FIRE (1961), a highly visual treatment of a seventy-day oil well fire in the Khuzestan region of southwestern Iran. This film was edited by the Iranian poet Forough Farrokhzad and won two awards at the Venice Film Festival in 1961.
Ebrahim Golestan's contribution to an anthology film about the rites of betrothal in four separate countries.
Hashem is a cab driver who finds an infant child in the back seat of his cab one night after he gives a ride to a young woman. Hashem and his girlfriend, Taji, try to cope with this unwanted child. Hashem insists on getting rid of the child, Taji on keeping him.
The banned and unseen Harvest and Seed is a sardonic look at the conditions of a poverty-stricken Iranian village after the so-called agrarian reforms of the early 1960s, which amounted to a corrupt land grab rather than an equitable redistribution of wealth. This film recorded in village in south of fars, Shiraz, Esmaeel abad
A documentary about the oil pipe installation in Khark, Iran in 1962.
The Crown Jewels of Iran is a 1965 film commissioned and then banned by the Shah’s cultural ministry, featuring dazzling edits and camera movements and a charged narration assaulting economic disparities.
Short documentary by Ebrahim Golestan
Set in a leper colony in the north of Iran, The House is Black juxtaposes "ugliness," of which there is much in the world as stated in the opening scenes, with religion and gratitude.
"We should start with a correspondence, maybe we will not correspond to one another. Ebrahim can send me a letter this Friday, and I'll answer him next Friday. So, see you Friday, Robinson!" And so, Jean-Luc Godard stages himself in his daily thought, wisely desperate, and sends images and words from Switzerland to the other side of the Channel. In his mansion in Sussex, Ebrahim Golestan tries to decode these UFO-messages and skilfully seeks to bring them back to the appearance of reason. And so on, until the day a veil falls over the two Gods on the run. Does the existence of poets still have any meaning in these times of distress?