You Can’t Show My Face

The sound of the streets of Teheran is transformed into forbidden beats, people sing and young women and men rhyme their inner feelings. They tell us about a society that rejects them, streets belonging to the government and a vision of a utopia within creativity. Street salesmen and pedestrians form an imaginary choir of the streets, backing up the youth, suggesting the public space should belong to the public. The narrative is captured in a circular chronology in a single day, from dawn to dawn. The sound of the streets of Teheran is transformed into forbidden beats, people sing and young women and men rhyme their inner feelings. They tell us about a society that rejects them, streets belonging to the government and a vision of a utopia within creativity. Street salesmen and pedestrians form an imaginary choir of the streets, backing up the youth, suggesting the public space should belong to the public. The narrative is captured in a circular chronology in a single day, from dawn to dawn. The sound of the streets of Teheran is transformed into forbidden beats, people sing and young women and men rhyme their inner feelings. They tell us about a society that rejects them, streets belonging to the government and a vision of a utopia within creativity. Street salesmen and pedestrians form an imaginary choir of the streets, backing up the youth, suggesting the public space should belong to the public. The narrative is captured in a circular chronology in a single day, from dawn to dawn. The sound of the streets of Teheran is transformed into forbidden beats, people sing and young women and men rhyme their inner feelings. They tell us about a society that rejects them, streets belonging to the government and a vision of a utopia within creativity. Street salesmen and pedestrians form an imaginary choir of the streets, backing up the youth, suggesting the public space should belong to the public. The narrative is captured in a circular chronology in a single day, from dawn to dawn.