Another project might be "The River and the Mountain," but I'm not sure. Wait, maybe "The Other Side of the River" is another title. I think he also directed an episode for TV, but details are sparse. His work often addresses social issues, like immigration, displacement, and the immigrant experience in the US. The documentary "The Other Side of the River" could delve into the real-life experiences of refugees or asylum seekers.
As of 2025, Shirzad Sindi has directed 8 documentaries, 4 narrative features, and over 20 short films. His most recent work, "The Song Before the Gun" (2024), is a musical drama—a radical shift—telling the story of a Kurdish wedding band that continues to play even as airstrikes fall nearby. It premiered at the Berlin International Film Festival to a ten-minute standing ovation. shirzad sindi film work
His feature films often garner attention on the festival circuit for their uncompromising vision. By prioritizing character development over plot-heavy mechanics, Sindi allows his stories to unfold with a naturalistic rhythm. Whether exploring the plight of refugees or the quiet desperation of rural life, his storytelling is grounded in a neorealist tradition, utilizing non-professional actors alongside seasoned professionals to create a textured, authentic screen presence. Another project might be "The River and the
Considered by many to be Sindi’s magnum opus, A House Built on Rain is a metafictional drama. The story centers on a filmmaker (clearly a surrogate for Sindi himself) who returns to his birthplace in Mahabad only to find that the residents are all actors hired by the Iranian government to pretend the town is still alive. His work often addresses social issues, like immigration,
Sindi’s artistic identity is inseparable from his cultural roots. As a Kurdish filmmaker from Iran, he navigates the double burden of representing a marginalized culture while avoiding the trap of exoticism. His breakout film, The One-Eyed Horse (2006), established his signature approach. The film, set in a small Kurdish village, tells the story of a young boy whose dreams are tethered to an old, wounded horse. On the surface, it is a simple fable. Yet, Sindi’s direction transforms it into a meditation on perseverance. He refuses to sentimentalize poverty; instead, he frames the harsh landscape with a painter’s eye for stark beauty. The camera remains patient, often at a respectful distance, allowing the audience to observe the characters’ rituals—the pouring of tea, the tending of livestock, the long silences between father and son. Here, the plot is secondary to the texture of existence. The titular horse is not merely a plot device but a metaphor for a people who, despite being wounded and overlooked, continue to stand.