Private Restroom
Under the skin of every city lies a thick layer of crime, managed globally by an unlikely front: Private Restrooms. They aren't hidden beneath the surface, but in plain sight-where you see them every day, yet never look close enough...
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Amirhossein AminiDirector
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Amirhossein AminiWriter
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Wishland StudioProducerOne at a time
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Frank DabellKey Cast"Eddie"Improvvisamente l'inverno scorso
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Simone GallicoKey Cast"Colin-Duncan"Something About You
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Enthela Jane GuschautKey Cast"Layla"
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Marco LeottaKey Cast"George"
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Rodina RaadKey Cast"New girl"One at a time
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Amirhossein AminiKey Cast"Former Custodian"Tequila (TV-series)
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Jay WeissbergKey Cast"Man over the phone"
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Bahar SaadatiExecutive producer
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Bahar SaadatiAssistant Directors
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Mahdi HeidariAssistant Directors
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Shayan FarhangiSound department
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Amirhossein AminiEditor / Colorist / VFXOne at a time
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Marina ShipunovaFestival Coordinator
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Bahar SafiariGraphic Designer
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Tina BeheshtiEPK
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Project Type:Feature
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Genres:Thriller, Psychological
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Runtime:1 hour 14 minutes 41 seconds
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Completion Date:February 19, 2026
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Production Budget:2,500 EUR
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Country of Origin:Italy
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Country of Filming:Italy
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Language:English
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Shooting Format:Digital 4K
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Aspect Ratio:16:9
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
Distribution Information
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WishboxDistributorCountry: Iran, Islamic Republic ofRights: Video on Demand
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Wishland StudioDistributorCountry: WorldwideRights: Theatrical
Amirhossein Amini is an Iranian filmmaker who defines independent cinema through self-reliance. In 2018 he founded Wishland Studio in Tehran with the belief that a limited budget should never limit the scope of a story. Amini is a proponent of "total filmmaking," often handling many technical roles-from cinematography to VFX-to maintain a singular, uncompromised vision. Private Restroom is his feature directorial debut.
"With Private Restroom, I wanted to strip cinema down to its most voyeuristic element: the unblinking eye. A technical feat unlike any other, the film is constructed almost entirely as a single, continuous 70-minute take, shot from a fixed top-down perspective.
By locking the camera in a 'God's Eye' position and refusing to cut, I force the audience into the uncomfortable role of a surveillance camera—and a silent accomplice. There is no editing to save the characters, and no close-ups to forge a bond with them; yet, the distance only magnifies their vulnerability. We are forced to watch the crime unfold in real-time, trapped in the room with them. This format wasn't just a challenge; it was a narrative necessity to build an unbearable, slow-burn suspense that spirals toward a devastating conclusion."