Bahram Azimpour is a filmmaker who has worked in various dramatic and visual arts media, from writing and directing of theater and script writing to the production of a storyline for television. He began his career in documentary cinema from 1994. Azimpour has directed documentaries such as “Kamas Dolls”, “Chamar”, “Dubeh”, “Fresh Air” and “Shadow of the Era”. His works have been featured at numerous national and international festivals and have received awards.

Every time I start making a new movie, I’m looking for a way to remove or dampen my personal boundaries with the subject of the chosen film, and this is a perennial question of what the movie is going to say and where it starts. Different aspects and diversity of the various aspects of Ali Asghar  Hajibaba’s life made it difficult to shape the structure, selection and the story line of the film. Finally, considering the timing of the films of the Karestan collection, we decided to narrate our narrative in three areas of the national macroeconomic industry, family economy, and political-social activities. My effort was to move these three aspects to the audience without going away from the entrepreneurship axis (which is the main goal of the Karestan project).

Perhaps the artist’s impressibility on the subject under construction is more than any art in the documentary cinema. Ali Asghar Hajibaba’s understated features in the film production process have had a lasting effect on our group members. The national glance, professional visionary, exemplary discipline, and mankind’s humanity gave us more than a work experience. Accompanying and recording the efforts of someone who is not tired of the difficulties and difficulties of the industry. The story of suffering, defeats and triumphs of honorable human who went from cotton to fire in the course of their life’s ups and downs and brought us with him in this road.