M ehran Tamadon’s probing film operates a kind of dialogue with his related documentary My Worst Enemy , as it creates sequences in which victims of abuse by the Iranian secret police re-enact their ordeal. In this one, the title is taken from the brutal words sprung upon a prisoner by their jailer who declares that, within the forbidding walls of the prison, God simply does not exist. As Tamadon’s interview subjects reconstruct their cells in various warehouses in Paris, their testimony lays bare how terrifyingly true that statement is.

Once an entrepreneur dealing in video equipment for major Iranian news stations, Mazyar Ebrahimi was falsely accused of espionage and assassination. With extraordinary calm, he demonstrates the various methods of torture inflicted on his body, with Tam

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