In this section, Seyyed Mohammad Beheshti begins the narrative from the turbulent days on the eve of the revolution and his presence at the Imam’s reception. A spiritual and intellectual close friend of people such as Martyr Motahari and Ayatollah Beheshti, he explains in these 250 words and during the conversation how a group of young engineers suddenly took on the heavy responsibility of “culture and media” in the early years of the revolution. He talks about the establishment of the Farabi Cinema Foundation and its controversial support policies; a policy that some called “greenhouse” and others, the factor that saved Iranian cinema from absolute collapse. In this section, Dehbashi challenges him with questions about the elimination of stars before the revolution and the strictures of that era. This episode is an exploration of the mind of a director who believed that in order to achieve a noble cinema, one had to go through ideological storms.

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00:00 - The beginning of raw bricks; Seyyed Mohammad Beheshti and the peace he brought with him
08:20 - Memories of the Welfare School and the Welcome Center; Engineering in the service of the revolution
16:45 - Entering the IRIB; When no one knew what to do with the media
25:10 - Establishing the Farabi Foundation; Why did cinema become important to the regime?
34:30 - Guiding and supporting policies; Greenhouse cinema, criticism or praise?
42:15 - The story of the elimination of pre-revolutionary superstars; Fardin, Nasser and others
51:00 - Fajr Festival; The Birth of a New Identity in the Heart of War
58:25 - Relationship with Seyyed Mohammad Khatami during the Ministry of Religious Affairs
01:06 - Why was Beheshti called the "Merciful Dictator of Cinema"?
01:14 - Response to Critics About the Monopoly of Screening and Production in the 1960s