ABSTRACT
This chapter examines Massoud Bakhshi's Tehran anar nadarad, an experimental documentary, and the music video "'Eshq-e sor'at", performed by the underground band Kiosk, directed by Ahmad Kiarostami, and released on YouTube. The author argues that the notion of reform acts as an informing logic that guides the viewer's experience with the film and his or her understanding of it. Tehran Has No More Pomegranates's basic structure comprises two main components. In the first section, the director and his film crew compare images of contemporary Tehran to images of the city from an old "documentary" that they allegedly found in the archives of the Ministry of Islamic Culture and Guidance. In the second section, the film crew attempts to construct a "realistic" image of present-day Tehran by focusing on the institutions that define it. The chapter then talks about Kiosk's music video "'Eshq-e sor'at" more explicitly invested in answering them.
