Night of Melancholia
New York City, New York | Film Short
Drama, Mystery
After losing their son in Iran’s uprising, where the regime unleashes a memory-erasing fog, a grieving mother is haunted by the return of her amnesiac husband. "Night of Melancholia" mourns in silence, and resists in whispers. For all who long for freedom—and Iranians who’ve lived under tyranny.
Night of Melancholia
New York City, New York | Film Short
Drama, Mystery
1 Campaigns | New York, United States
16 supporters | followers
Enter the amount you would like to pledge
$4,370
Goal: $9,740 for production
After losing their son in Iran’s uprising, where the regime unleashes a memory-erasing fog, a grieving mother is haunted by the return of her amnesiac husband. "Night of Melancholia" mourns in silence, and resists in whispers. For all who long for freedom—and Iranians who’ve lived under tyranny.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Night of Melancholia combines poetic realism with political urgency, giving voice to the voiceless and space to the unspoken. It is for everyone whose heart beats for freedom, and especially for Iranians who carry generations of grief beneath their skin.
By supporting this film, you're not only backing a powerful story—you’re helping preserve memory, defy erasure, and amplify resistance through art.
https://youtu.be/4VTb8FCnDAE?si=EffGWzBGAOUtp2o3
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a dystopian Iran where memories are state-controlled, Mahy meticulously seals her home against a government-engineered fog designed to erase dissent and suffering. When her husband Siavash returns home disoriented, not recognizing her or their shared history, Mahy must guide him through fragments of their past before the fog claims him again.
As they piece together their fractured memories, they make a devastating discovery: they once had a child, now completely erased from existence. No photos, no toys, no records—only haunting echoes in the corners of their minds that the regime couldn't fully suppress.
Racing against time and an encroaching fog that threatens to reset their memories each day, Mahy and Siavash fight to reclaim what was stolen from them: not just their child, but their very ability to remember and resist.
.png)
The genesis of "Night of Melancholia" emerged from my own experience of displacement and the gradual erosion of memories that comes with forced separation from one's homeland.
Growing up in Iran, I witnessed how authoritarian regimes don't merely control bodies, but systematically attempt to control minds—rewriting histories, erasing identities, and fragmenting collective memory.
This film is my exploration of memory as the final frontier of resistance. When a government can alter what we remember, what remains of our humanity? In Mahy's desperate fight to preserve the memory of her child against an insidious fog, I see parallels to our struggle to maintain cultural identity against forces that would prefer we forget.
The visual language of "Night of Melancholia" draws inspiration from the interplay of light and shadow in Iranian domestic spaces—how sunlight filters through curtains, AND how darkness conceals and reveals. I've chosen to shoot predominantly in enclosed spaces using a desaturated palette punctuated by moments of vivid color that represent memory breaking through oppression.
Formally, the film employs a cyclical narrative structure that mirrors the protagonist's daily ritual of sealing her home against the fog. This repetition becomes both a prison and a prayer—each cycle subtly different as small fragments of truth accumulate despite attempts to erase them.
At its heart, this is not merely a political allegory but an intimate portrait of parental grief. The primal need to remember one's child transcends political systems and speaks to our deepest human instinct to preserve our connections to those we love.
Through "Night of Melancholia," I hope to create a work that resonates beyond its specific setting, inviting audiences to consider what memories they would fight to preserve, and what parts of themselves would remain if their memories were taken away.
.png)
MAHY
A resilient 35-year-old woman whose meticulous daily rituals of sealing her home against the memory-altering fog serve as both protection and resistance.
Formerly a literature professor whose critical thinking made her dangerous to the regime, Mahy now lives in isolation, desperately clinging to photographs and physical mementos that anchor her memories. Her strength lies in her methodical determination and emotional intelligence—she instinctively recognizes her husband even when he doesn't remember her.
Mahy embodies quiet defiance, refusing to surrender the truth of her child's existence despite the psychological toll of remembering what everyone else has forgotten.
SIAVASH
Mahy's 40-year-old husband, a former journalist, once wrote articles criticizing government policies.
His recurring amnesia represents the regime's most devastating victory—the severing of familial bonds. Each time Siavash returns home, he carries fragments of memories that don't quite connect, experiencing déjà vu he can't explain. His intellectual nature makes him question these inconsistencies, providing the narrative momentum as he and Mahy piece together their shared past.
Siavash's transformation from confused stranger to grieving father forms the emotional arc of the story.
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VISUAL STYLE OF THE STORY
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"Night of Melancholia" will employ a distinctive visual language that evokes both the claustrophobia of living under constant surveillance and the fragmented nature of compromised memory.
Cinematography
The film will utilize a desaturated color palette dominated by blues and grays, with selective use of warm colors to signify genuine memories breaking through. Shooting primarily on a Red Komodo with vintage Helios lenses will create a slightly dreamlike quality with characteristic lens flares and subtle distortions at frame edges—visual metaphors for memory's imperfection.
Compositions will emphasize negative space and isolation, frequently framing characters against windows or doorways to suggest confinement. Camera movement will be deliberate and measured during routine sequences, contrasting with handheld urgency during moments of emotional breakthrough or revelation.
Lighting
Lighting will be predominantly low-key with strong directional sources creating dramatic shadows that obscure and fragment faces. The mysterious fog will be visualized through diffused, volumetric lighting that creates visible shafts of light cutting through darkness—making the invisible threat tangible. Morning scenes will feature harsh shafts of light penetrating sealed windows, while evening sequences will employ practical sources like oil lamps that create intimate pools of illumination amid encroaching shadows.
MOOD BOARD
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Pre-Production (April-May 2025)
- April 10-15: Finalize script and shooting script/SEED AND SPARK PROJECT INITIATION
- April 16: First rehearsal at 6 E 16th St, Fifth Ave
- April 17-22: Location scouting and securing permits/FUNDRAISING EVENT
- April 23: Second rehearsal at 6 E 16th St, Fifth Ave
- April 24-30: Production design planning, prop acquisition
- Wednesdays in May (1, 8, 15, 22, 29): Weekly rehearsals at 6 E 16th St, Fifth Ave
- May 1-15: Equipment testing and technical planning with The New School Film Office
- May 16-31: Finalize production design, costume fittings, and technical scouting
- June 1-14: Final preparations, crew briefings, and equipment checkout
Production (June 2025)
- June 10: Production Day 1
- Morning: Setup and establishing shots
- Afternoon: Key scenes with Mahy alone
- Evening: Memory sequence scenes
- June 11: Production Day 2
- Morning: All scenes with Siavash
- Afternoon: Confrontation scene
- Evening: Final shots and wrap
Post-Production (June-August 2025)
- June 17-30: Transfer footage, create backups, initial assembly edit
- July 1-15: Rough cut completion and review
- July 16-31: Sound design, music composition, and color grading
- August 1-15: Final cut, sound mix, and delivery
Festival Submission (September 2025-January 2026)
- September 1: Final deliverables completed
- September-October: Begin submissions to winter/spring film festivals
- November-January: Submissions to major summer festivals
PLEASE FOLLOW AND SHARE!
And in the end, thank you for joining our campaign. If you love freedom, if you live under tyranny. If you are grieving over death of a loved one, this production is for you. We shake your hands and kiss your beating hearts. After all, we are all poets trying to tell stories.
-Fou
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Marketing and distribution
Costs $1,000
We're gonna submit our film to countless film festivals which advocate for freedom and political changes.
Color grading
Costs $300
The movie needs to be in a melancholy mood which makes color grading an important part of the story.
Original score
Costs $300
I'm collaborating with new talents in the movie composing cohort at The Parsons School of Design.
Props
Costs $490
1. Vinyl Recorder All-in-One Vintage Record Player $149.99 2. Froggy's Frog Fog Machine and Fluid $199.99 3. FUJI Film instax mini $139.99
Equipment Rentals(Lighting, camera, sound)/2 days
Costs $3,000
-8x8 Diffusion -EZ rig Steadicam -Sony Cinealta Lenses -2 sets of Nanlite Forza 500B -Lilliput BM150-4K Carry-On 4K Monitor (V-Mount)
Location/ 2-day shoot
Costs $1,500
As we are currently location scouting on Giggster, Vrbo, etc. Finding a cheap place to shoot for 2 whole days is impossible.
Editor
Costs $700
A professional editor will be editing our film in the post-production and the editor fee for a 10 minute film is between 500 to 2000 dollars
Sound designer
Costs $500
Sound designer fees vary widely based on experience however for a 10-minute film it will be no less than 500 dollars.
SAG Actors wages for Ultra micro budget film based on SAG AFTRA for 2-days
Costs $250
For a SAG-AFTRA student budget film (under $35,000 budget and 35 minutes or less runtime), actor salaries are a minimum of $125 a day.
Share this update!
About This Team
We’re an independent team of passionate filmmakers driven by storytelling, collaboration, and a deep love for cinema.
CAST
The film stars Arash Mokhtar and Fou Gharib, bringing raw, intimate performances to the screen.
CREW
- Writer & Director: Fou Gharib
- Producers: Fou Gharib & Keaton Lora
- First Assistant Directors: Keaton Lora & Joyce Hills
- Directors of Photography: Moon Choi
- Gaffers & Production Assistants: Vidur Bahl, Brij Parekh, Anuragini Mediga
- Script Supervisors: Menna Karadanova & Soroush Taheri
- Catering: Provided by the incredible team at Persepolis Restaurant NYC
- Thesis Supervisor: Vladan Nikolic
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Night of Melancholia combines poetic realism with political urgency, giving voice to the voiceless and space to the unspoken. It is for everyone whose heart beats for freedom, and especially for Iranians who carry generations of grief beneath their skin.
By supporting this film, you're not only backing a powerful story—you’re helping preserve memory, defy erasure, and amplify resistance through art.
https://youtu.be/4VTb8FCnDAE?si=EffGWzBGAOUtp2o3
a dystopian Iran where memories are state-controlled, Mahy meticulously seals her home against a government-engineered fog designed to erase dissent and suffering. When her husband Siavash returns home disoriented, not recognizing her or their shared history, Mahy must guide him through fragments of their past before the fog claims him again.
As they piece together their fractured memories, they make a devastating discovery: they once had a child, now completely erased from existence. No photos, no toys, no records—only haunting echoes in the corners of their minds that the regime couldn't fully suppress.
Racing against time and an encroaching fog that threatens to reset their memories each day, Mahy and Siavash fight to reclaim what was stolen from them: not just their child, but their very ability to remember and resist.
The genesis of "Night of Melancholia" emerged from my own experience of displacement and the gradual erosion of memories that comes with forced separation from one's homeland.
Growing up in Iran, I witnessed how authoritarian regimes don't merely control bodies, but systematically attempt to control minds—rewriting histories, erasing identities, and fragmenting collective memory.
This film is my exploration of memory as the final frontier of resistance. When a government can alter what we remember, what remains of our humanity? In Mahy's desperate fight to preserve the memory of her child against an insidious fog, I see parallels to our struggle to maintain cultural identity against forces that would prefer we forget.
The visual language of "Night of Melancholia" draws inspiration from the interplay of light and shadow in Iranian domestic spaces—how sunlight filters through curtains, AND how darkness conceals and reveals. I've chosen to shoot predominantly in enclosed spaces using a desaturated palette punctuated by moments of vivid color that represent memory breaking through oppression.
Formally, the film employs a cyclical narrative structure that mirrors the protagonist's daily ritual of sealing her home against the fog. This repetition becomes both a prison and a prayer—each cycle subtly different as small fragments of truth accumulate despite attempts to erase them.
At its heart, this is not merely a political allegory but an intimate portrait of parental grief. The primal need to remember one's child transcends political systems and speaks to our deepest human instinct to preserve our connections to those we love.
Through "Night of Melancholia," I hope to create a work that resonates beyond its specific setting, inviting audiences to consider what memories they would fight to preserve, and what parts of themselves would remain if their memories were taken away.
MAHY
A resilient 35-year-old woman whose meticulous daily rituals of sealing her home against the memory-altering fog serve as both protection and resistance.
Formerly a literature professor whose critical thinking made her dangerous to the regime, Mahy now lives in isolation, desperately clinging to photographs and physical mementos that anchor her memories. Her strength lies in her methodical determination and emotional intelligence—she instinctively recognizes her husband even when he doesn't remember her.
Mahy embodies quiet defiance, refusing to surrender the truth of her child's existence despite the psychological toll of remembering what everyone else has forgotten.
SIAVASH
Mahy's 40-year-old husband, a former journalist, once wrote articles criticizing government policies.
His recurring amnesia represents the regime's most devastating victory—the severing of familial bonds. Each time Siavash returns home, he carries fragments of memories that don't quite connect, experiencing déjà vu he can't explain. His intellectual nature makes him question these inconsistencies, providing the narrative momentum as he and Mahy piece together their shared past.
Siavash's transformation from confused stranger to grieving father forms the emotional arc of the story.
VISUAL STYLE OF THE STORY
"Night of Melancholia" will employ a distinctive visual language that evokes both the claustrophobia of living under constant surveillance and the fragmented nature of compromised memory.
Cinematography
The film will utilize a desaturated color palette dominated by blues and grays, with selective use of warm colors to signify genuine memories breaking through. Shooting primarily on a Red Komodo with vintage Helios lenses will create a slightly dreamlike quality with characteristic lens flares and subtle distortions at frame edges—visual metaphors for memory's imperfection.
Compositions will emphasize negative space and isolation, frequently framing characters against windows or doorways to suggest confinement. Camera movement will be deliberate and measured during routine sequences, contrasting with handheld urgency during moments of emotional breakthrough or revelation.
Lighting
Lighting will be predominantly low-key with strong directional sources creating dramatic shadows that obscure and fragment faces. The mysterious fog will be visualized through diffused, volumetric lighting that creates visible shafts of light cutting through darkness—making the invisible threat tangible. Morning scenes will feature harsh shafts of light penetrating sealed windows, while evening sequences will employ practical sources like oil lamps that create intimate pools of illumination amid encroaching shadows.
MOOD BOARD
Pre-Production (April-May 2025)
- April 10-15: Finalize script and shooting script/SEED AND SPARK PROJECT INITIATION
- April 16: First rehearsal at 6 E 16th St, Fifth Ave
- April 17-22: Location scouting and securing permits/FUNDRAISING EVENT
- April 23: Second rehearsal at 6 E 16th St, Fifth Ave
- April 24-30: Production design planning, prop acquisition
- Wednesdays in May (1, 8, 15, 22, 29): Weekly rehearsals at 6 E 16th St, Fifth Ave
- May 1-15: Equipment testing and technical planning with The New School Film Office
- May 16-31: Finalize production design, costume fittings, and technical scouting
- June 1-14: Final preparations, crew briefings, and equipment checkout
Production (June 2025)
- June 10: Production Day 1
- Morning: Setup and establishing shots
- Afternoon: Key scenes with Mahy alone
- Evening: Memory sequence scenes
- June 11: Production Day 2
- Morning: All scenes with Siavash
- Afternoon: Confrontation scene
- Evening: Final shots and wrap
Post-Production (June-August 2025)
- June 17-30: Transfer footage, create backups, initial assembly edit
- July 1-15: Rough cut completion and review
- July 16-31: Sound design, music composition, and color grading
- August 1-15: Final cut, sound mix, and delivery
Festival Submission (September 2025-January 2026)
- September 1: Final deliverables completed
- September-October: Begin submissions to winter/spring film festivals
- November-January: Submissions to major summer festivals
PLEASE FOLLOW AND SHARE!
And in the end, thank you for joining our campaign. If you love freedom, if you live under tyranny. If you are grieving over death of a loved one, this production is for you. We shake your hands and kiss your beating hearts. After all, we are all poets trying to tell stories.
-Fou
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Marketing and distribution
Costs $1,000
We're gonna submit our film to countless film festivals which advocate for freedom and political changes.
Color grading
Costs $300
The movie needs to be in a melancholy mood which makes color grading an important part of the story.
Original score
Costs $300
I'm collaborating with new talents in the movie composing cohort at The Parsons School of Design.
Props
Costs $490
1. Vinyl Recorder All-in-One Vintage Record Player $149.99 2. Froggy's Frog Fog Machine and Fluid $199.99 3. FUJI Film instax mini $139.99
Equipment Rentals(Lighting, camera, sound)/2 days
Costs $3,000
-8x8 Diffusion -EZ rig Steadicam -Sony Cinealta Lenses -2 sets of Nanlite Forza 500B -Lilliput BM150-4K Carry-On 4K Monitor (V-Mount)
Location/ 2-day shoot
Costs $1,500
As we are currently location scouting on Giggster, Vrbo, etc. Finding a cheap place to shoot for 2 whole days is impossible.
Editor
Costs $700
A professional editor will be editing our film in the post-production and the editor fee for a 10 minute film is between 500 to 2000 dollars
Sound designer
Costs $500
Sound designer fees vary widely based on experience however for a 10-minute film it will be no less than 500 dollars.
SAG Actors wages for Ultra micro budget film based on SAG AFTRA for 2-days
Costs $250
For a SAG-AFTRA student budget film (under $35,000 budget and 35 minutes or less runtime), actor salaries are a minimum of $125 a day.
Share this update!
About This Team
We’re an independent team of passionate filmmakers driven by storytelling, collaboration, and a deep love for cinema.
CAST
The film stars Arash Mokhtar and Fou Gharib, bringing raw, intimate performances to the screen.
CREW
- Writer & Director: Fou Gharib
- Producers: Fou Gharib & Keaton Lora
- First Assistant Directors: Keaton Lora & Joyce Hills
- Directors of Photography: Moon Choi
- Gaffers & Production Assistants: Vidur Bahl, Brij Parekh, Anuragini Mediga
- Script Supervisors: Menna Karadanova & Soroush Taheri
- Catering: Provided by the incredible team at Persepolis Restaurant NYC
- Thesis Supervisor: Vladan Nikolic