A short documentary on the latest film by Mania Akbari titled, From Tehran to London. The film takes a closer look at Akbari’s latest boundary-pushing film that displays females dancing for the first time in Iranian cinema after the revolution. Through the lens of critical analysis with a touch of Freudian psychoanalysis, the documentary comments on how the themes of dance, death, homosexuality, censorship and devastation come to light through the actor’s dialogues and symbols in the film.

A short documentary on the latest film by Mania Akbari titled, From Tehran to London. The film takes a closer look at Akbari’s latest boundary-pushing film that displays females dancing for the first time in Iranian cinema after the revolution. Through the lens of critical analysis with a touch of Freudian psychoanalysis, the documentary comments on how the themes of dance, death, homosexuality, censorship and devastation come to light through the actor’s dialogues and symbols in the film.

A short documentary on the latest film by Mania Akbari titled, From Tehran to London. The film takes a closer look at Akbari’s latest boundary-pushing film that displays females dancing for the first time in Iranian cinema after the revolution. Through the lens of critical analysis with a touch of Freudian psychoanalysis, the documentary comments on how the themes of dance, death, homosexuality, censorship and devastation come to light through the actor’s dialogues and symbols in the film.

A short documentary on the latest film by Mania Akbari titled, From Tehran to London. The film takes a closer look at Akbari’s latest boundary-pushing film that displays females dancing for the first time in Iranian cinema after the revolution. Through the lens of critical analysis with a touch of Freudian psychoanalysis, the documentary comments on how the themes of dance, death, homosexuality, censorship and devastation come to light through the actor’s dialogues and symbols in the film.

A short documentary on the latest film by Mania Akbari titled, From Tehran to London. The film takes a closer look at Akbari’s latest boundary-pushing film that displays females dancing for the first time in Iranian cinema after the revolution. Through the lens of critical analysis with a touch of Freudian psychoanalysis, the documentary comments on how the themes of dance, death, homosexuality, censorship and devastation come to light through the actor’s dialogues and symbols in the film.

Starting with her own memories of working as an actress on Abbas Kiarostami's Ten, filmmaker Roya Akbari proceeds to elicit other testimonies on the masters of Iranian cinema from three people who are themselves among the foremost Iranian directors: Rafi Pitts on Parviz Kimiavi; Amir Naderi on Sohrab Shahid Saless; and Bahram Bayzai on Arby Ovanessian. Bayzai also analyses Haji Agha, the Cinema Actor (1933) by Ovanes Ohanian, considered the first feature film made in Iran.