Things We Do in Tehran

Five women orbit a Beirut beauty salon where sugar wax becomes a metaphor for the slow, sticky work of self-determination. The film maps a city through the threshold spaces women carve out for confession and laughter.

Released in real-time fragments tied to characters' actual clocks, the show maps Oslo adolescence as a series of overlapping private theaters. Like the Tehran piece, it treats daily ritual itself as the dramatic unit, with no climactic event required.

A single Cairo apartment block becomes a vertical anthology of class, queerness, and Islamist awakening, each floor a different negotiation with the state. It shares the anchor's vignette architecture, where the building itself is the protagonist.

Recorded across borders with Manu Chao, the album threads a Sunday in West Africa through wedding noise, traffic, and radio static into one continuous urban poem. Like the anchor, it insists that a city's truth lives in its ambient overlap, not its monuments.

In a future city ruled by a feces-based currency, two scavengers navigate a dystopia where biological function is state-monitored intimacy. Its grotesque satire echoes the anchor's understanding that authoritarian cities reduce private acts to civic transactions.