The Unfinished Film, which moves between retrospection and imagination, text and moving image, is made in a form of meta- cinema and also an attempt to rematerialize cinema and cinematic apparatus. During a research trip to Tehran, the artist and his collaborator revisited the “street of cinemas” burned during the 1979 Islamic Revolution. They treat pre-revolutionary Iranian cinema and cinema venues as a lens through which to analyze geopolitics and oil politics. Writings, archives, moving images, film footage, and sound are interspersed in a narrative structure of truth and fiction that reveals the “silent” manipulation of history and the state of Iranian society in the post-revolutionary period. The entanglement between war, desire and materials points to an man-made apocalyptic “Paradise Lost”, while asking the viewer at what level the radical revolution continues to radiate historically into the present. 

這部遊走於回溯和想像，文字和移動影像之間的創作是基於電影的電影，也是將電影和電影裝置(apparatus)再物質化的嘗試。在一次去德黑蘭的 考察中，藝術家和共同寫作者重訪了在 1979 年伊朗伊斯蘭革命中被焚燒的電影院“一條街”，他們把革命前的伊朗電影和電影院場所作為分析地緣 政治和石油政治的透鏡。文字、檔案、移動影像、電影素材和聲音被穿插在真實與虛構的敘述結構中，展現了 “無聲的” 歷史操縱以及後革命時期 伊朗社會狀態。戰爭、慾望與物質之間的糾纏指向一種人造的末世“失樂園”，同時也從歷史層面向觀眾問詢激進革命在哪些層面正在向當下擴散。