No. 28 is a film version of the animation installation composed of the fading remains of the director’s childhood memories without overt or linear narrative structure. The hand-drawn animations of fragmentary memories with different temporal, spatial, and narrative qualities suspend the chronological development of events and their immediate interpretation. The perception of No. 28 is kinaesthetic, which depends on walking between projections in the gallery space or moving the eyes between frames on the film screen. Through the back-and-forth movement between discrete pictures, their concepts blend into each other, revealing the memory of innocent childhood life in a remote, peaceful environment against the surrounding political affairs of post-revolutionary Iran.