Iranian filmmaker Morteza Avini was killed by a land mine in Fakkeh while producing a documentary.

Sayyid Morteza Avini was an Iranian documentary filmmaker, author, and theoretician of "Islamic Cinema." He studied Architecture at Tehran University in 1965. During the Iranian Revolution, Avini started his artistic career as a director of documentary films, and is considered a prominent war filmmaker. He made over 80 films on the Iran–Iraq War. According to Agnes Devictor, Avini invented original cinematography methods, depicting the esoteric side of the Iran–Iraq War in terms of Shia mystical thought. Most of his work was devoted to reflecting on how bassijis, a paramilitary volunteer militia within the Islamic Revolutionary Guard Corps, perceived the war and their role in it. His most famous work is the documentary series Ravayat-e Fath, which was filmed during the Iran–Iraq War. He was killed by a landmine explosion in 1993, while filming. He was described as a Shahid (martyr) after his death, and Ayatollah Ali Khamenei declared him "the master of martyred literati". The 20th day of Farvardin is entitled the day of "Islamic Revolution art" in his honor.

A land mine, or landmine, is an explosive weapon often concealed under or camouflaged on the ground, and designed to destroy or disable enemy targets as they pass over or near it. Land mines are divided into two types: anti-tank mines, which are designed to disable tanks or other vehicles; and anti-personnel mines, designed to injure or kill people.

Fakkeh is a place at the northwest of Khuzestan and southeast of Ilam province in Iran. The north of Fakkeh belongs to Dehloran County, Ilam and the south of Fakkeh is belong to Dasht-e Azadegan County, Khuzestan. Also, this place is a border region between Iran and Iraq. There are a lot of sandy land in the Fakkeh area and it has dry weather.

A documentary film is a nonfiction motion picture intended to "document reality, primarily for instruction, education or maintaining a historical record". The American author and media analyst Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".