Hossein Nuri (also spelled Hosein Noori or Hussein Nouri) (Persian: حسین نوری, born 1 July 1954) is an Iranian painter, playwright and film director.

One of Nuri's pre-eminent characteristics is that despite his physical limitations he has gained professional acclaim in three fields of painting, theater, and cinema.

[3] Farah Industrial Boarding School was deeply monitored by SAVAK, Iran's pre-revolution secret service.

Finally as the result of fatal damages to Nuri's body, SAVAK reduced its control and he came back to his family who were then residing at Torbat-e Jam.

During four decades, Nuri has displayed his paintings in more than a hundred individual exhibitions in multiple cities of Iran and in capitals of France, China, Germany, Algeria, Lebanon, and Austria.

In the 80s and 90s He wrote and staged several award-winning plays including The Purgatory Stop (1981), The Crimson Cloak (1982), The Last Festival (1983), The Circus (1985), Companion (1990), Beloved (1991), Intuition (1994), and The Seeker (1996).

[20] In 2019 Nuri wrote and directed the feature film My Arms Flew which was based on some actual events in his life.

After the screening of the film at Simon Fraser University of Canada, Patricia Gruben said: "I saw many things the second time that I had not understood on first viewing.

The day after, it was on the front page of four Iranian newspapers, Jame Jam, Tehran Times, Sarmayeh, and Asrar.

Linda Sartor of Saint Mary's College of California referred to the incident in her book about her journey to East Asia.

[32] Ian Linden, Professor of Religious Studies at SOAS who teaches on Christian-Muslim relations said: "When there was a demonstration in front of the Danish Embassy in protest against the cartoons negatively caricaturing the Prophet Muhammad, an artist, who had lost the use of both arms, had managed while holding the paint brush in his teeth, to create a beautiful painting of Mary.

[33] Geraldine Smyth of Trinity College Dublin said: "I think it's a very strong political statement to confront the ugliness with the beauty.