Roozbeh Behtaji

During a film workshop, the filmmakers Astrid and Roozbeh create a conflict with the group of skeptical youngsters who wonder if they are really only used as cleaning staff.

Filmmaker Azad Larki, who is undocumented, follows his mother during her final days in Sweden after his family has lived without legal status for two years. Facing deportation to Iran, they have survived in hiding, without rights or security. When his mother decides to flee alone to London - leaving her husband and son behind - the film captures a dangerous farewell where humor becomes a final survival strategy against fear, separation, and uncertainty.

Three Swedish actresses work as waitresses in Oslo one summer. They use all their wits to get as much tips as possible. They plan to start a company and buy a house. They come to be our guides in the film and reveal a world of people doing things they don't want to do, playing roles they don't know why they're playing.

We follow a maternity group for a year. Parents and babies who are put together in groups of the health station and who meet at each other's home and eat lunch. Some of them have big plans. They will buy and sell property. Some are concerned about doing things right. Can babies eat cucumbers? What about cheese?

Sam is transferring between two airports during his stopover in London, carrying a big suitcase with a broken handle. While waiting for his bus in the city center, he wanders away from the bus terminal in search for a toilet. During this night odyssey it soon becomes apparent that that trust is hard to find, and that things seldom are what they appear to be.

During a film workshop, the filmmakers Astrid and Roozbeh create a conflict with the group of skeptical youngsters who wonder if they are really only used as cleaning staff.

An intimate and personal reflection on the conditions of work in the 21st century, seen through the eyes of a bike delivery person. From nostalgia to frustration with Swedish punk running in the background, this film immerses us in the universe of one of many workers in the so called gig economy.

Filmmaker Azad Larki, who is undocumented, follows his mother during her final days in Sweden after his family has lived without legal status for two years. Facing deportation to Iran, they have survived in hiding, without rights or security. When his mother decides to flee alone to London - leaving her husband and son behind - the film captures a dangerous farewell where humor becomes a final survival strategy against fear, separation, and uncertainty.

Filmmaker Azad Larki, who is undocumented, follows his mother during her final days in Sweden after his family has lived without legal status for two years. Facing deportation to Iran, they have survived in hiding, without rights or security. When his mother decides to flee alone to London - leaving her husband and son behind - the film captures a dangerous farewell where humor becomes a final survival strategy against fear, separation, and uncertainty.

Filmmaker Azad Larki, who is undocumented, follows his mother during her final days in Sweden after his family has lived without legal status for two years. Facing deportation to Iran, they have survived in hiding, without rights or security. When his mother decides to flee alone to London - leaving her husband and son behind - the film captures a dangerous farewell where humor becomes a final survival strategy against fear, separation, and uncertainty.

Frustration, loneliness, and sadness loom over existence in the cramped apartment. Bruno has come to Sweden alone and now lives with his uncle, who is tormented and depressed. Bruno does what he can to change the situation in a softly told film with a poetic tone.

Sam is transferring between two airports during his stopover in London, carrying a big suitcase with a broken handle. While waiting for his bus in the city center, he wanders away from the bus terminal in search for a toilet. During this night odyssey it soon becomes apparent that that trust is hard to find, and that things seldom are what they appear to be.

Sam is transferring between two airports during his stopover in London, carrying a big suitcase with a broken handle. While waiting for his bus in the city center, he wanders away from the bus terminal in search for a toilet. During this night odyssey it soon becomes apparent that that trust is hard to find, and that things seldom are what they appear to be.