Iranian artist and filmmaker Shahab Fotouhi ’s “ Boomerang ” has debuted an exclusive clip (below) following the film’s world premiere in Venice Days, an independent section of the Venice Film Festival .

In this touching drama set in Tehran, past relationships, like Sima's marriage to Behzad, come to an end, while new ones begin, sometimes quite unexpectedly.

As Sima starts looking for a new home for herself and her daughter Minoo, her soon-to-be ex meets up with his former flame. He’s also looking for a rare species of owl, living somewhere outside the city. But teenage Minoo is busy as well: she meets a boy.

“Minoo and Keyvan first make eye contact at a traffic light and quickly form a bond without exchanging a word. As they walk through the city and flirt, ‘Boomerang’ captures a sense of lightness and fluidity reminiscent of the French New Wave,” said the director.

“Behzad’s interactions with other adults are more fragmented and calculated, yet they are still filled with sweetness, humor, and playfulness. Even his intense conversation with Sima in the dark concludes on a lighter note, leaving them with the lingering taste of quince jam.”

Produced by Luise Hauschild and Mariam Shatberashvili for New Matter Films and co-produced by Rainy Pictures and Zohal Films, “Boomerang” – sold by Cercamon – prioritizes emotions.

“As well as their ways of thinking and arguing, the characters’ tones, gestures, and attitudes. Like me, they belong to the middle class, a [part of society] that Iranian cinema has often overlooked,” explained Fotouhi.

“Sometimes, Iranian cinema adopts a form of realism that aims to depict the struggles of lower classes by claiming ‘social responsibility.’ I disagree with making films *about* something. It implies that something can be examined under a microscope. This hierarchical approach is precisely the opposite of what this type of realism intends to accomplish.”

Instead, he embraced a more open approach, extending this freedom to his collaborations with the cast, which includes Arash Naimian, Yas Farkhondeh, Leili Rashidi, Ali Hanafian and Shaghayegh Jodat. However, when Iran is mentioned, the presence of politics is inescapable.

“Every artistic creation carries its own political undertones, even if they are not always explicit or readily apparent. Politics influence even the most personal and intimate aspects of our lives. The personal is political,” remarked Fotouhi, making his directorial debut. Nevertheless, despite the challenges they face and the disappointments they encounter, his protagonists “gradually discover their own voices.”

“It wasn't until the later stages of writing the script that I noticed that Behzad initiates conversations with female characters but never completes them. He plays a supporting role rather than a leading one, which is likely a reflection of the current socio-political landscape in Iran and the significant role women play within it,” he explained, referencing the film’s “sandwich scene.”

“It was inspired by a similar scene in Kiarostami’s ‘The Report,’” he mentioned.

“We encounter a group of men from a different social background than the film’s main characters. They discuss the state of the economy, the dilemma of leaving the country or staying, and they blame each other for their misfortunes. The interactions between these strangers in a sandwich shop add a unique dimension to the film.”

That being said, these discussions lead nowhere.

“Only the arrival of young girls holds the promise of a new era.”