The situation of Dariush Mehrjooi’s house after the murder

The one constant in Mehrjui’s work was his attention to the discontents of contemporary, primarily urban, Homeland. His film The Pear Tree (1999) has been hailed as the apotheosis of the director’s examination of the Iranian bourgeoisie.Since his film The Cow in 1969, Mehrjui, along with Nasser Taqvai and Masoud Kimiai, was instrumental in paving the way for the Iranian cinematic renaissance, the so-called “Persian New Wave.”