Abdolhossein Sepanta (Persian: عبدالحسین سپنتا, 4 June 1907 – 28 March 1969) was an Iranian film director and producer.

[3][4][5][6] As Sepanta took more interest in film, he found that there was a possibility one of his productions could make it to theaters in Iran through some competitive tactics.

The leading Iranian films producer at the time was Oganes Oganians, a Russian Armenian immigrant who pioneered the industry in Iran.

Looking at the advanced technology available in British India, Sepanta realized that he could bring to Iranian cinema the first talkie film.

In 1931, with an acquaintance Ardeshir Irani, a parsi from the local community, Sepanta began production of the Lor Girl at the Imperial Film Co. in Bombay.

Contrary to the expectations of cinema managers, who relied on foreign films, The Lor Girl was an instantaneous success and set up a new record of sale and running period which was not beaten for several years.

Sepanta was a man of letters and a prominent scholar in pre-Islamic Persian literature, therefore his films were extremely national and historical, a trend which prevailed in other artistic and literary circles at the time and was the outcome of the suppressed but restless social and cultural situation in the society.

However, the project never materialized, nor did another screenplay he had written on the life of Persian mathematician, astronomer and poet Omar Khayyám.

They also contributed in making explanatory notes on editing and film processing made that are offered and scene descriptions by carefully worked-out drawings.

In 1935, he left Calcutta (Kolkata) for home, hoping that he could enlist government assistance to establish a film production studio in Iran.

Dr. Sassan Sepanta quoted his father in an interview: "In September 1936, he arrived in Bushehr (a port beside of Persian Gulf) with a print of Laili-o-Majnoon.

The authorities did not value cinema as an art form or even as a means of mass communication, and he soon realized that he had to forget about his dream of establishing a film studio in Iran.

"Sepanta who had been disappointed, sold his Laili-o-Majnoon at a very cheap price to cinema owners in Tehran, he was about to return to India for the last time to shoot The Black Owl and Omar Khayyám, when he was retained in Esfahan by his mother's illness.

Between 1934 and 1954, not a single film was produced in Iran[citation needed] and when filmmaking activity was resumed, Sepanta was living in seclusion in Esfahan.