Alireza Ansarian (علیرضا انصاریان) has been a Photographer in some movies:

...-the-olive-trees-zire-darakhatan-zeyton">Through The Olive Trees is about that 'Through the Olive Trees' is the final part of Kiarostami's trilogy, and the plot revolves around the production of the second episode 'Life, and Nothing More' which itself was a revisitation of the first film 'Where Is the Friend's Home?'. The film explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress into marriage. In this film Alireza Ansarian (علیرضا انصاریان) collaborates with Yadollah Najafi (یدالله نجفی), Hossein Jafarian (حسین جعفریان‎), Farhad Saba (فرهاد صبا), Abbas Kiarostami (عباس کیارستمی), Ahmad Ahmadpoor (احمد احمدپور), Mahmoud Samakbashi (محمود سماک‌باشی), Mohammad Ali Keshavarz (محمدعلی کشاورز), Farhad Kheradmand (فرهاد خردمند), Zarifeh Shiva (ظریفه شیوا), Hossein Rezai (حسین رضایی), Tahereh Ladanian (طاهره لادنیان), Zahra Nourouzi (زهرا نوروزی), Nasret Betri (ناصرت بتری), Azim Aziz Nia (عظیم عزیزنیا), Babak Ahmad Poor (بابک احمدپور)

Taste of Cherry is about that An Iranian man drives his car in search of someone who will quietly bury him under a cherry tree after he commits suicide. In this film Alireza Ansarian (علیرضا انصاریان) collaborates with Homayoun Ershadi (همایون ارشادی), Jahangir Mirshekari (جهانگیر میرشکاری), Homayoun Payvar (همایون پایور), Mohammad Reza Delpak (محمدرضا دلپاک), Abbas Kiarostami (عباس کیارستمی), Abdolhossein Bagheri (عبدالحسین باقری), Safar Ali Moradi (صفرعلی مرادی), Mir Hossein Noori (میر حسین نوری), Alain Depardieu (آلن دوپاردیو), Afshin Khorshid Bakhtiari (افشین خورشیدبختیاری), Elham Imani (الهام ایمانی), Ahmad Ansari (احمد انصاری), Hamid Masoomi (حمید معصومی)

Alireza Ansarian (علیرضا انصاریان) has been a Director in some movies:

Plectrum on Wound is about that 'Plectrum on Wound' focuses on an unknown, enigmatic artist who goes by the name Boyouk - commonly referred to as the 'œmadman' by those who have heard of him. Seemingly no one has discovered the cause of Boyouk's grief through the years. Although we are not presented with an answer to Boyouk's isolation, we do however, hear his thoughts, feelings and views on art. Boyouk's talent in playing the tar is magical and contrasts starkly with the accompanying tragic anecdotes of the poor quality of his life.