Mohammad Reza Aligholi

Mohammad Reza Aligholi, honestly, the guy’s a bit of a legend in the Iranian cinema scene. You peek at his filmography and it’s like, boom—some of the most striking dramas of the past couple decades. Emkane Mina (2016) kind of sneaks up on you. It’s not your run-of-the-mill, predictable drama. The story digs into the tangled mess of trust and suspicion, all wrapped around this police procedural vibe, but with way more emotional depth than you’d expect. You’ve got these characters who are way out of their comfort zones, and the tension just keeps ratcheting up. It’s not afraid to show people at their most vulnerable, which is honestly refreshing. Now, Kheyli Door, Kheyli Nazdik (2005)—man, that one stings. It’s about a famous astrophysicist who basically finds himself lost, not in space, but in his own life. He’s got all this science in his head but can’t figure out the people closest to him. There’s this raw, aching loneliness woven through every scene, and Aligholi’s score just nails that bittersweet vibe. It’s like, you’ve got all the answers about the universe, but your own kid is a total mystery. Ouch, right? And then there’s Dokhtar (2016), which just hits different. It zooms in on the chaos and drama that erupts when a father tries to control his daughter’s choices. Small town, big emotions, and the cultural expectations all crash together. It’s got this honesty about family that just feels real—messy, emotional, and, at times, a little bit heartbreaking. Aligholi’s music kind of sneaks into your bones, tying it all together.