The Persian Version

Tucker and Hamid are going to be grandfathers for the first time, but only if they can come together long enough to save their first-born grandchild.

In the aftermath of a breakup, a struggling filmmaker becomes seduced by his therapist while his ex-girlfriend grapples with her identity and where to go next.

Shirin is struggling to become an ideal Persian daughter, politically correct bisexual and hip young Brooklynite but fails miserably in her attempt at all identities.

A transparent look into the life of Iranian immigrants in America. Sholeh and her husband Nasser carry out their evening routine in a ritual they are both accustomed to but nonetheless deeply grateful for.

The Dawn is Too Far: Stories of Iranian-American Life poetically narrates the story of a community of Iranian Americans who have made the San Francisco Bay Area their home over the past five decades. The film explores Iranian immigration through turbulent histories of dissent, revolution, war, and separation, and the reinvention of identity in a new land and culture. The Dawn is Too Far highlights how Iranian students, activists, and artists have navigated displacement while drawing on and influencing Bay Area culture. This community offers a more nuanced story of the Iranian diaspora—the ways that this community enriches the region where they live, work, and build families. The Dawn is Too Far undermines the tired and overplayed news headlines that are dominated by narratives of enmity and mistrust between the government of Iran and the U.S., to offer a more humane understanding of the how people's lives and the sacrifices they make are part of the larger story of immigration.

Alexx must 'face' the reality of her overnight transformation when she joins her faceless friends in their nightly manifesting faces ritual.

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Sathyamoorthy is an innocent and honest hardworking villager. He helps Ashok, Rajan and their friend in a time of trouble, who offer him a lot of money in return. He insults them saying he did his duty and money isn't everything. However, fate plays a cruel turn making him desperate for money to treat his wife. He runs to them and they turn him into a criminal, much like them. He gains experience quickly, and soon usurps their dominance. His wife and son, Raja, however are unaware of his activities.

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Sathya reaches the court of Yama after he is killed for exposing the crimes of the village head. When he starts a protest to get his life back, Yama goes on a vacation and grants him his wish.

Three children are stalked by hired killers after they unknowingly take evidence pointing to the existence of a corrupt international cartel, which has just murdered their father.

Raja is rich but illiterate and enjoys life, and tells his friends to not get married or hold any job. However, he secretly has affairs with married women. Then one day Raja gets married to Champa, and the story enters a serious mode.

Mohana Punnagai is a 1981 Indian Tamil film, directed by C. V. Sridhar and produced by R. P. Sarathy. The film stars Sivaji Ganesan as lead actor with Geetha (Sri Lanka actress), Jayabharathi, Padmapriya, Anuradha and Anandhi as lead actresses. The film had musical score by M. S. Viswanathan.

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An actor returns to Poland after 12 very unsuccessful years in the United States only to find himself entangled in a noirish situation reminiscent of California in the 1940s.

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