M.S. Norouzi

A glimpse into Massa's world.

A collection of moments, atmosphere, and visual narrative.

Inspired by the second chapter of Fyodor Dostoevsky's Notes from Underground,

Apropos of the Wet Snow follows an alienated intellectual whose inflated sense of

superiority and control is completely dismantled by an unexpected human

connection. Moving beyond a simple literary adaptation, the film turns its lens on

the fragile state of contemporary Iranian intelligentsia, while navigating the delicate

space between intellectual hubris and systemic alienation without falling into

state-sanctioned critiques of liberal society.

Inspired by the second chapter of Fyodor Dostoevsky's Notes from Underground, Apropos of the Wet Snow follows an alienated intellectual whose inflated sense of superiority and control is completely dismantled by an unexpected human connection. Moving beyond a simple literary adaptation, the film turns its lens on the fragile state of contemporary Iranian intelligentsia, while navigating the delicate space between intellectual hubris and systemic alienation without falling into state-sanctioned critiques of liberal society.

Inspired by the second chapter of Fyodor

Dostoevsky's Notes from Underground,

Apropos of the Wet Snow follows an

alienated intellectual whose inflated

sense of superiority and control is

completely dismantled by an unexpected

human connection. Moving beyond a

simple literary adaptation, the film turns

its lens on the fragile state of

contemporary Iranian intelligentsia,

while navigating the delicate space

between intellectual hubris and systemic

alienation without falling into

state-sanctioned critiques of liberal

society.

An isolated, self-important intellectual

who believes his intellect gives him total

control over his life finds his ego shattered

after an encounter with a young woman

in this underground adaptation of Dostoevsky's

Notes from Underground.

An isolated, self-important intellectual

who believes his intellect gives him total

control over his life finds his ego shattered

after an encounter with a young woman

in this underground adaptation of Dostoevsky's

Notes from Underground.

An isolated, self-important intellectual who believes his intellect gives him total control over his life finds his ego

shattered after an encounter with a young woman in this underground adaptation of

Dostoevsky's Notes from Underground.

Stahlfeder treats sound as its primary moving force, replacing conventional narrative, text, and historical discourse with an embodied sensory experience.

Shot on Super 8mm, its physical film textures and rhythmic audio composition become active agents of a past that has left its marks forever.

Rather than delivering factual information, the work invites viewers into a space where sound and image co-create meaning through perception and tone. Echoes of memory, time, and space move fluidly across a transhistorical framework to present history not as a set of documented events, but as a visceral resonance shaped by rhythm and reflection.

Stahlfeder treats sound as its primary moving force, replacing conventional narrative, text, and historical discourse with an embodied sensory experience.

Shot on Super 8mm, its physical film textures and rhythmic audio composition become active agents of a past that has left its marks forever.

Stahlfeder treats sound as its primary moving force, replacing conventional narrative, text, and historical discourse with an embodied sensory experience.

Shot on Super 8mm, its physical film textures and rhythmic audio composition become active agents of a past that has left its marks forever.

Driven by sound rather than text or dialogue, Stahlfeder is a short experimental Super 8mm film that engages with Germany's layered history as an immersive, tactile experience.

Inside a surreal bureaucratic office, an artist, Mr. Dasein, attempts to secure an art permit from the tyrannical Mr. Sphinx, only for their negotiation to descend into a power struggle fueled by gibberish and arbitrary rules.

nowhere-land where institutional authority

operates on arbitrary rules, the tension between the

two men escalates not through real dialogue, but

through an invented gibberish language. As

Mr. Dasein seeks approval for a work that breaks no

explicit laws, Mr. Sphinx's bureaucratic power game

collapses the interaction into complete absurdity.

Shot digitally with a minimalist crew, the film

bypasses realistic depictions of state suppression to expose the inherent grotesqueness of censorship itself. Rather than targeting specific political prohibitions, Absolute turns its lens on the surreal spectacle of permission-seeking by inviting viewers into an uncomfortable space where authority feeds on its own paranoia, logic is weaponized, and compliance becomes an absurd performance.

Absolute follows Mr. Dasein, an artist trapped in a Kafkaesque confrontation inside the office of Mr. Sphinx, an official tasked with granting permission for an upcoming performance. Set in an isolated nowhere-land where institutional authority operates on arbitrary rules, the tensionvbetween the two men escalates not throughvreal dialogue,

but through an invented gibberish

language. As Mr. Dasein seeks

approval for a work that breaks no

explicit laws, Mr. Sphinx's

bureaucratic power game collapses

the interaction into complete

absurdity.

Shot digitally with a minimalist crew, the film bypasses realistic depictions of state suppression to expose the inherent grotesqueness of censorship itself. Rather than targeting specific political prohibitions, Absolute turns its lens on the surreal spectacle of permission-seeking by inviting viewers into an uncomfortable space where authority feeds on its own paranoia, logic is weaponized, and compliance becomes an absurd performance.

Absolute follows Mr. Dasein, an artist trapped in a Kafkaesque confrontation inside the office of Mr. Sphinx, an official tasked with granting permission for an upcoming performance. Set in an isolated nowhere-land where institutional authority operates on arbitrary rules, the tension between the two men escalates not through real dialogue, but through an invented gibberish language. As

Mr. Dasein seeks approval for a work that breaks no explicit laws, Mr. Sphinx's bureaucratic power game

collapses the interaction into complete absurdity. Shot digitally with a minimalist crew, the film

Who is Mohammad Sadegh?
Who is Massa?

Mohammad Sadegh studied English Literature before earning an MA in Creative Production in Berlin.

However, Massa was born in 1995 in the a town called Hamedan. He began writing poetry before he could even pronounce his own name correctly.

"Mohammad Sadegh is too strong a name to say," Mr. Norouzi admits now as a mature creative. But the misspelled name, Massa, stays with him as the pen name he identifies with the most.

Mohammad Sadegh studied English Literature before earning an MA in Creative Production in Berlin.

However, Massa was born in 1995 in the a town called Hamedan. He began writing poetry before he could even pronounce his own name correctly.

"Mohammad Sadegh is too strong a name to say," Mr. Norouzi admits now as a mature creative. But the misspelled name, Massa, stays with him as the pen name he identifies with the most.

Mohammad Sadegh studied English Literature before earning an MA in Creative Production in Berlin.

However, Massa was born in 1995 in the a town called Hamedan. He began writing poetry before he could even pronounce his own name correctly.

"Mohammad Sadegh is too strong a name to say," Mr. Norouzi admits now as a mature creative. But the misspelled name, Massa, stays with him as the pen name he identifies with the most.