Sreemoyee Singh travels to Iran with her camera. She takes two things with her on her journey. A camera and a yearning for Iranian cinema. Over the next six years, the young Indian filmmaker fills And, Towards Happy Alleys with the kind of magical moments reserved for pure, passionate travelers. Her first encounters with Iranian cinema giants Jafar Panahi and Mohammad Shirvani are themselves clever and magical reflections of their films. Jafar Panahi, as in his previous film Taxi, sits behind the wheel and leads the director through the streets of Tehran, and when Mohammad Shirvani speaks of the eroticism of cinema, the sound of a neighbor's drill grows censoriously louder. These moments, full of wit, also underscore the essence of Iranian cinema: that cinema and life cannot and will not be separated. Srimoy Singh's camera then turns to another group of people groaning under an oppressive regime: women. Their realities are carefully interwoven with those of the filmmakers, creating a poignant portrait of Iranian society as they struggle against a society that forces them to hide their femininity and censors their daily lives. Many Iranian filmmakers, including Jafar Panahi, are still imprisoned or repressed, and Mahsa Amini's case is about to reach its first anniversary. And, Towards Happy Alleys is the purest tribute and solidarity to them.