A boy and a girl, betrothed since childhood, are still fond of each other as they pass through adolescence. Their families, however, now have other plans for their children, and try to break up the teenage couple′s relationship. They reason that the couple′s association during their teenage years is dangerous and will have an adverse effect on their future. The young boy and girl, on the other hand, believe all problems would be solved if the rite of marriage were to be performed between them, allowing them to associate without transgressing any social mores. Though it is a simple story, Sweet Agony is an unconventional film overflowing with new experiences. Shot as a ′film within a film,′ the main character speaks into the camera while relating his memories and interpretations directly to the audience. The film uses numerous jump cuts and has an ambiguous, albeit beautiful, ending. Also, Davudnezhad has used many of his own relatives in the film, calling it ′a product of his own family′. Davudnezhad presents his bold subject in a complex and new form, using such methods as a means to express his taboo words and ideas about a social issue that is gripping so many Iranian families today. (production notes)