Abolhassan Davoodi

Abolhassan Davoodi, a name that sticks out in Iranian cinema, has never really played it safe. His films aren’t just stories—they’re more like a punch to the gut, the kind that lingers for days. Take Rokhe Divaneh from 2015, for example. You get a deep dive into the chaotic lives of a group of young people in Tehran, all tangled up in each other’s secrets and disasters. These aren’t your cookie-cutter characters, not even close. Davoodi throws them into the messiest corners of modern life—think wild parties, risky choices, and that constant push-pull between tradition and rebellion. It’s raw, a little unnerving, and honestly, pretty addictive to watch. But hey, don’t sleep on Zadboom (2009) either. Here, Davoodi ditches the glitter and gets real about family drama and the weird ways people try to escape their own messes. There’s this sense of desperation running through every frame—like everyone’s about to snap, but they’re still hanging on for dear life. And if you’re into throwbacks, Jib-Borha Be Behesht Nemiravand (1992) hits with a totally different vibe. It’s more old-school, but the core is pure Davoodi: flawed people, tough choices, and that uncomfortable honesty about what it means to be human in a world that doesn’t always play fair. Basically, Davoodi isn’t afraid to dig into the ugly stuff. He’s got a knack for creating characters you love, hate, and—most of all—recognize. His movies don’t just entertain; they leave a mark.