In the 1990s and 2000s, Taghvai directed Oh Iran (1990), Tales of Kish (1999), and Unruled Paper (2002). Each project dealt with existential and social questions in different forms. In Tales of Kish, Taghvai’s segment The Greek Ship was screened at the Cannes Film Festival, bringing international attention to his quiet mastery. His later films focused on moral dilemmas, human fragility, and the thin line between sanity and despair — continuing the introspective tone that marked his debut.
Taghvai often withdrew from public life, refusing to produce films that required ideological compromise. He turned down numerous state-funded offers, choosing creative integrity over convenience. This principled stance led some to call him “the conscience of cinema.” Despite facing financial hardship and political isolation, he remained admired by younger filmmakers who saw in him a model of artistic ethics and courage.
