In modern day Iran, a female attorney fights for the custody of her seven year old diabetic son following a divorce from her husband. When the courts rule against her, she takes desperate actions that lead to tragic events.

Reza, the veteran worker of a print house whose sight is adversely affected because of his job, loses his mother. Finding the gloom reigning over the home beyond bearing, he departs to overcome his sorrows. He ends up at a hostel where he shares his room with a southern guy called Ahmad who has a group of orphan war-stricken children under his wing. After the initial inkling gives way to the friendship, Reza discovers that Ahmad's patron plies his trade in black-market. At the same time, Reza's sister is constantly beaten and humiliated by her husband for being infertile.

对于很多了解伊斯兰革命之前的伊朗新浪潮电影的人来说，Arby Ovanessian也是一个陌生的名字。其实他是一位很著名的剧场导演，一直致力于伊朗现代戏剧的发展，这部70年的《春天》是他仅有的一部电影作品，曾在当年德黑兰国际电影节上深受好评，被认为是伊朗电影诗人派（以Sohrab Shahid Saless和Nosratallah Karimi为代表）的杰作，“一部以长镜头为主，对白很少，只需用眼睛和心灵去感觉的电影。“。Arby Ovanessian是亚美尼亚裔的伊朗人，79年伊斯兰革命之后流亡法国至今，此片也被禁止在伊朗国内放映。值得一提还有本片摄影Houshang Baharlou正是Dariush Mehrjui的《邮差》、Nosratallah Karimi的《车夫》、Sohrab Shahid Saless的《静濭的生活》等名片的摄影师。