Being the wife of a famous film-director, Dariush Mehrjui, living with him for twenty-five years and growing up together, naturally drew me to the world of cinema. I came to help as a set-designer and grew into art-director and enjoyed every bit of the work. However, whenever other directors asked me to be their art-director, I invariably refused because I never considered myself a professional set-designer, I was simply doing this work for Dariush as a favor… and I would tell them “It’s like cooking for me, I do it only for my family, I am not a professional cook…” In retrospect, in view of the films he made before and after our common life, I think I have brought a humanist and European touch to the films we made together, from Rimbaud to the Pear Tree, and a very definite feminist touch to his Women’s cycle, namely Banou, Sara, Pari and Leila.