1960至1970年代，伊朗製作與上映了逾千部電影，產量在世界上名列前茅。伊朗革命前的通俗電影「filmfarsi」題材廣泛，從以女性主義角度改編的通俗愛情片，到翻拍外國片的低成本電影，反映了這個國家既追求現代化，卻又同時糾纏於傳統價值。然而1979年伊斯蘭革命及隨之而來旳禁令，使興盛一時的電影業戛然而止，幾近蕩然無存。賀殊巴克從私人珍藏的VHS錄影帶擷取片段，剪輯成這部隨筆式紀錄片，為這個導演形容為「載歌載舞，滲透色情與誘惑，充滿暴力與復仇」的電影類型留下精彩紀錄。從本片可以一窺早已於當時散失的流動影像作品，這些失而復得的影像是這個變動不居的國家不可磨滅的印記。

In the 1960s and 1970s, Iran was home to one of the most prolific film industries in the world, producing and releasing over a thousand films over two decades. Iranian pre-revolutionary popular cinema, known as filmfarsi, cast an image of a country seeking to modernise yet wrestling with its traditional ties and included everything from feminist adaptations of romantic melodramas to low-budget remakes of foreign films. In 1979, the revolution and the ensuing media ban upended this once-thriving industry. Composed of excerpts taken from the VHS tapes of his personal collection, Ehsan Khoshbakht’s essayistic documentary is a fascinating account of this vibrant form of cinema that, in his words, is filled with ‘song and dance, sex and seduction, violence and vengeance’. Offering a rare glimpse into the moving image works of this period, Filmfarsi contemplates the loss and rediscovery of these indelible markers of a nation in flux.