Studio 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.

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.

This is a short documentary about Marlik hills and the archaeology's explorations there. But also it is about life, art, and the hope for a better tomorrow.

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.

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.

A documentary about the oil pipe installation in Khark, Iran in 1962.