Iranian filmmaker born in Abadan in 1945. Very poor family and orphan since age five, Amir Naderi makes a living as a child with the most different occupations (selling shoes and ice, picking up bottles helmets...), until you find a job in Tehran as a photographer in the film studios. Full self out of necessity, acts as Assistant Director in some movies before you make the leap to performing with a diptych of curious forays in film noir, which in no way foreshadowed further concerns and style. On the other hand, Tangsir and Sazdahani, Marsiye splendid medium-length Entezar already evoke the theme of poverty and incorporate autobiographical profiles that will become even greater relief in his masterpiece, Davande. First work of the post-revolutionary Iranian cinema, which will meet a certain broadcast abroad and will reveal this burgeoning movement, Davande found continuity in the also excellent Ab, bad, khak, sensitive portrait of rural poverty, which however does not satisfy the authorities and is retained for several years. Discouraged, Naderi emigrated to the United States and is set in New York, where will finally succeed in relaunching his work with two smaller films that remain, however, minimalist elegance of its style.
1972: Khoda hafez rafiq.1973: Tangna; Tangsir.1974: Sazdahani.1976: Marsiye.1978: Sakht-e Iran.1981: Jostoju.1982: Jostoju 2.1985: Davande.1986: Ab, bad, khak.1993: Manhattan by Numbers.1997: A, B, C... Manhattan.