This edition of Peter Culshaw’s peripatetic radio show features guest Pete Lawrence. Pete is one of the good guys – a positive force in the culture, as he says "my life's work is bringing people together".

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Iranian director Mohammad Rasoulof is now an Oscar-nominated refugee, in a bittersweet harvest for his film The Seed of the Sacred Fig.

The taxi cab has become a recurring motif in modern Iranian cinema, perhaps because it approximates to a kind of dissident bubble within the authoritarian state, a public space where individuals can have private and often subversive conversations.

In his 2015 docufiction Taxi Tehran, the outlawed director Jafar Panahi pretended to be a cab driver, taking inspiration from the late great Abbas Kiarostami’s 10 (2002), in which Mania Akbari, who may have actually been the film’s true begetter, seems to be a taxi driver even if she’s not.

In Two Minds, Traverse Theatre ★★★★ 

The Iranian playwright Nassim Soleimanpour is many things, some seemingly contradictory: a) a clever, poetic playwright who uses high-tech elements in his work to inventive effect; b) a mischievous presence who likes to appear in his own highly unusual plays; c) a man in pain who is traumatised by his self-imposed exile from Iran. 

Here in Europe we mainly see subtle, lyrical Iranian films, targeted at international festivals or art house audiences, so it’s great to get the chance to see Law of Tehran, a gritty and relentless police thriller that was a hit in its home country in 2019.  

Timing is everything. The release of Ali Abbasi’s Holy Spider at a time when the world’s attention is turned to the treatment of women in Iran should win it more ticket sales than his previous (and far better) film Border managed in 2019.

The trailer for Panah Panahi’s award-winning first feature Hit the Road is one of the most misleading I’ve yet seen thanks to its jaunty Western pop soundtrack and reassuring caption that the movie resembles an Iranian Little Miss Sunshine.

Love triangles rarely feel more truthful or more tender than in No Hard Feelings, a beautiful film that announces debut director Faraz Shariat as a filmmaker worth reckoning with.