In Paper Airplanes, Hakemzadeh is commissioned by the Ministry of Culture to travel with a mobile open-air cinema through the mountainous green north of Iran. One day he decides to take his young son along with him. They trek from one remote spot to the next and find themselves in a village where people have never seen a film. Before night falls, Hakemzadeh takes a long walk through the forest and is deeply impressed by the silence. Meanwhile, a pretty young woman prays that she will marry the man of her dreams, instead of the old gentleman she has been married off to. That evening the novice film viewers are so impressed by the film that even a torrential rain storm cannot get them off their seats. After a film with Charlie Chaplin, there is an Iranian melodrama in which a girl is married off against her will. In the reality of village life, the projectionist and his son become involved with the fate of the young girl.îIn Paper Airplanes, modern achievements are meticulously weighed against the advantages of a traditional life close to nature. In a simple and always human way, Mehranfar describes abstract issues such as the transfer of knowledge and the boundaries between legend, art and reality.
