Included in Jonathan Rosenbaum’s list of 1000 essential films, Parviz Kimiavi’s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran. 　　A director of a television series on the history of cinema, who has been grappling with the screenplay of his first feature film, receives an assignment to oversee the installation of a television relay station in a remote region of Zahedan province, near the Afghanistan border. He has already hired Turkoman tribespeople for his film and selected his filming location. Meanwhile his wife, who is working on her Ph.D. dissertation about the Mongol invasion of Iran, attempts to dissuade him from accepting the assignment. One night, while working on his history of the cinema series, the director fantasizes a diagetic world that consists of clever juxtapositions of his different worlds: the history of cinema, the history of the mongol invasion, his own film idea and his imminent assignment to the desert.

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

一群把腳踏車掛上路燈的狂野少年，一位有強迫症的女人，三個拿著真槍真彈、在週末夜玩俄羅斯輪盤的酒友，加上總是在街角鬼吼高唱的唐氏症少年，組成了這部奇異而帶點哀傷的佳作。導演一鳴驚人的首部長片，精準而幾近「偽紀錄片」式的場面調度，透露了創作者對電影媒體比說故事更有野心的企圖：讓電影成為社會的實驗室。

1227年成吉思汗死后，他的三个儿子攻占Tuleda城，俘虏了比安卡公主。赫拉克勒斯为了拯救比安卡，比赛故意认输，自己甘愿成为奴隶。不久西方的援军快重新夺回图利达，赶走了成吉思汗的儿子们，解救了赫拉克勒斯。

1227年成吉思汗死后，他的三个儿子攻占Tuleda城，俘虏了比安卡公主。赫拉克勒斯为了拯救比安卡，比赛故意认输，自己甘愿成为奴隶。不久西方的援军快重新夺回图利达，赶走了成吉思汗的儿子们，解救了赫拉克勒斯。

人气国漫《谷围南亭》动画版 制作决定！！！

人气国漫《谷围南亭》动画版 制作决定！！！

Estelle继续她血腥的复仇之路，因为贾克斯的前副职人员访问她。随着恶魔无处可寻，当她再次沉迷于虐待酷刑时，她身边就有死亡。

Estelle继续她血腥的复仇之路，因为贾克斯的前副职人员访问她。随着恶魔无处可寻，当她再次沉迷于虐待酷刑时，她身边就有死亡。