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Iranian Cinema Anonymous 09/01/2020 (Tue) 15:17:57 No.366
[JW05 ~ 05/10/2020] Iranian cinema warrants its own thread as the style of them and their directors are distinct enough to stand out and level up with Europeans. The 5 movies here are classics or well-known to start with. The Death of Yazdgerd recalls the kangaroo court upon a family of accusing the refuging last shah of the Sassanian dynasty. Where Is the Friend's Home details a child trying to give his friend his homework he took on accident lest his friend be expelled. Atom Heart Mother is some paranormal mystery thriller during the recession I didn't have subtitles for it. Ballad of Tara is about a women giving away her grandfather's possessions to her village as she can't keep them but finds no one who will accept his shamshir. The Night Bus is about an Iranian prisoner convoy of Arab POWs in 1983 during the Iran-Iraq War.
Great timing, I've been wanting to start a "middle Eastern" binge specially now since I'm trying to find Dialogue with the Wind (1998) Thanks for the recommendations https://youtu.be/6op12cmW8YY
I was looking for films about the 1953 coup and only found this one. It's not even a movie but a play (filmed at UCLA). Although it had plenty of details I never knew about, overall it was rather dry and didn't hold my interest. http://www.iranianmovies.com/page/product/4516
>accusing *killing
From Asghar Farhadi I've seen About Elly, A Separation, Fireworks Wednesday. All three films get high marks from me. I think Farhadi's skilled screenwriting sets him apart from other directors. He writes interesting characters in a story that eventually takes a suspenseful turn, with delightfully subtle foreshadowing early in the film.
How does the headscarf law apply to films? It doesn't always make sense in the context of a story, for example if a woman is seen alone indoors. I usually see women covering their head, but not always. Also is there a comprehensive list of films banned in Iran? Wikipedia is hit and miss and I'm not sure where else to look. https://globalvoices.org/2015/08/21/14-films-that-have-been-banned-in-iran-since-2007/
Found a book (https://www.bahook.com/product/31219/%DA%AF%D9%81%D8%AA%DA%AF%D9%88%D8%8C-%D9%86%D9%82%D8%AF-%D9%88-%D9%86%D8%B8%D8%B1-%D9%88-%D9%81%DB%8C%D9%84%D9%86%D8%A7%D9%85%D9%87-%DA%AF%D9%81%D8%AA%DA%AF%D9%88-%D8%A8%D8%A7-%D8%A8%D8%A7%D8%AF) ...with some reviews and interviews for Dialogue w/ Wind fortunately it seems like these are the highest res pics we could get of the picture by Alexandra Avakian, here's the translated description of the book: "Talking to the Wind" was screened at the 17th Fajr Film Festival along with three other films by Nasser Taghvaei, Mohsen Makhmalbaf and Abolfazl Jalili. The film is part of a six-episode film called "Kish Tales". Another set of this series has been made by Dariush Mehrjoui and Rakhshan Bani-Etemad, which was not screened at the 17th festival. Five interviews with Bahram Beizai, Aziz Saati, Jahangir Mirshakari, Mojdeh Shamsaii and Prima Shahin Moghadam and five reviews from Babak Ahmadi, Safi Yazdanian, Jaleh Amoozgar, Shahram Jafari-Nejad and Zavan Ghokasian have been published in the book." Another pic of the film found in Beyzai's facebook, I haven't dived deep into his gallery but there must be another set of pics there, you should check it out (lots of books as well), heres a translation of the text found alongside the pic: "A picture of musician/actor Saeid Shanbehzadeh that is seen playing the drums in the clip that energeia shared, found it along a quote by professor Jaleh Amoozgar in Beyzaie's facebook page "I come from the party of colors, from the festival of melodious speeches, from watching the painful picture of a regret, I come from watching the conversation with the wind..." Also, a small description I made using the persian wiki article with some annotations I added: "This picture by Alexandra Avakian was taken in a movie set in Iran, the director (green shirt) was the legendary dissident Bahram Beyzaii. This is his wife, the actress Mozhdeh Shamsai. The short film is called Goft-o-goo Ba Baad (Dialogue with the Wind) and it was part of the anthology film produced on Kish Island, called "Ghessé hayé kish" (Les Contes des Kish) but according to the director of the Fajr Cinema Festival the short "Doesn't sing with the spirit of the island" and it was eliminated from the anthology with the cooperation of the original producer. The other three parts - "Dialogue with the Water", "Dialogue with the Fire" y "Dialogue with the Earth" - make up the final feature length. The next three episodes were not produced, the short film was not shown to the public, and only Mozhdeh's photograph with the traditional southern garment was published on the cover of NatGeo magazine on July of 1999."
>>372 >NatGeo magazine on July of 1999 I thought that issue would be easy to find, but it's missing from this pdf collection of National Geographic http://the-eye.eu/public/Books/National%20Geographic/
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>>374 Amazing! I know physical NatGeo mags are cheap online but I always regret neglecting and ultimately forgetting about a 100 mag collection I had in Spanish. Did you "fix" the center fold yourself? Thank you so much for sharing this! How many magazines do you have in this format? Would you mind sharing some? I left my email.
>>375 >in Spanish Yes that's a collection i've been searching because in an issue around 2002-2003 there were aerial shots of my backyard park and my house heh, but ultimately the english versions are more valuable if much more political to be fair, at least for a magazine originally made to only show photos and maps of North America. >Did you "fix" the center fold yourself? Barely, i was going to post only the link but i wanted to show something for it as the picture itself is very nice, it's an old scan made with low DPI and you can literally see individual pixels in the flat colors. I tried to patch both halves (it's 2 pages instead of a cool center fold poster) but as you can see one is darker than the other, and because the scan was probably done without breaking the mag the very inner part of the union is missing, hence the small strip in the middle looking shady, i realized it would take me a long time to make it look printable/wallpaper-ish so i just did a quick woop. Sorry >How many magazines do you have in this format? Would you mind sharing some? I realized the link you posted is the popular collection that ends in 1997-98 and i remember seeing one that goes fully into December 1999 in Karagarga so i just downloaded that file to share. I don't have the full collection nor a big amount of ratio to knock that one out but i'll see what i can do without them chopping my legs due to contraband, but with pleasure if there's another issue needed i will search for it. Probably gonna download the remaining 90's issues now that i have your email, will post another image when it's done. If more or an specific one is needed then hit that subscribe button hit me with a reply.
>>376 I don't know why you apologized because you made a really good job, it always annoyed me how the fabric in the wind never really synched between pictures, thank you! BTW I didnt post the collection link that was somebody else, since you mentioned it you shouldnt worry about downloading stuff for me. The important thing was to secure Avakian's picture since it show a very unique perspective for Dialogue with the Wind
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>>377 >I don't know why you apologized I mean usually i would've tried harder, so here goes again. And don't worry, i will download those other ones but if it was another anon who wondered about them i guess i will post links here. Sad to see this film wasn't actually released.
>>378 lol i can see what you mean now, amazing work!
what's the best iranian movie?
>>380 >nevermind i found out
>>379 Yes, great job of digital restoration
>>379 >>382 Thanks although i might try it once more, forgot about the tent and there's nasty blur on the edges of the crew and sea i carelessly made at 100% power instead of 50, looks like a cellphone app. Also how about state-approved cinema? 1998's The Glass Agency seems interesting for a sponsored project due to its synopsis: Irak-Iran war vets, a soldier and his commanding officer, want to travel abroad because one suffers from war-time health issues and the other knows a doctor who can help him but bureaucracy and officialist shenanigans ensue which led to the commander blowing a fuse and taking hostage a travel agency with all and civilians. I'm downloading it and i read positive feedback. The other is a bit relevant these days, a tribute winky-wink at their nation's commanding officer Qassim Suleimani (or was it Qasem?) this time re-imagined as a prestigious bodyguard of top-level executives, but gets into trouble when a job doesn't go as planned. In 2016's Bodyguard the interesting thing is how the protagonist is portrayed here, it is supposedly a copycat interpretation of the general with all and his mannerisms, at least physically we can see he's the same along with his famous purple rings. I read it's not quite good but i might check it due to seeing a de-facto official portrayal of the guy who, by all sides, on paper seemed like one of the last old-timey strongmen or Caudillos.
>>380 >>381 well?... we're waiting!
[End of Dump JW05 ~ 07/10/2020]
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I don't know if you can find the full film anywhere but this summary is powerful
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I love Iranian cinema. I hope I can revive this thread with some discussion about this very interesting national cinema. I think in it, we see some of the better examples of post-modern filmmaking. My favourite Iranian film is The Taste of Cherry, which won the Palme D'Or in 1997. It is a fantastic film on its on, but I think the ending elevates it. I'm talking about how after being immersed in the story of Badii's life for the length of the film, Kiarostami chooses to break that immersion by showing us documentary-style clips of them filming some scenes. It blends fiction with reality in a perfect way to emphasise the closeness of the two. Kiarostami believes that works of fiction can be just as reflective and honest as documentaries. By using this documentary style at the end, Kiarostami is showing that the events you saw are just as equally a documentary, as a work of fiction, and insisting upon its meaning The blending of fiction and reality is recurring in the work of Kiarostami. We can look to his film Close Up, which is part documentary, part fictional drama. It uses those once embroiled in a criminal case against each other, as actors to tell the story. He tells a real-life documentary story using the real-life people who were involved, as actors. All the while he mixes in court footage of the proceedings. It's a bit hard to explain, but it is a very compelling story that gets you questioning the line between documentary, fiction, and reality. Another example in Kiarostami's films is at the beginning of "Through the Olive Trees", where some actors introduce themselves (pic rel). Although the intersection of reality and fiction is something that we see not only in Kiarostami, but in other Iranian directors too (who were no doubt influenced by him - he is generally considered the best Iranian director). A notable example of this can be found in the work of Jafar Panahi. Taxi Tehran follows Panahi as he drives a taxi around Tehran. We see a myriad of interactions, some real, some scripted/acted, all however, using people who aren't actors. Another good film of his is "This is Not a Film", which he made to protest the Iranian government who banned him from making films (and I think maybe also leaving his property). It was smuggled from Iran to Cannes on a USB hidden inside a cake. Iranian films approach some really high-concept difficult questions about art in a really grounded way. Perhaps due to not often using professional actors (Kiarostami for one thought you could get better performances out of untrained people). Their post-modern approach is really refreshing compared to some western post-modern films that I find can be indulgent, leaning too heavily into 'breaking the modernist rules', leaving behind something shallow. Though I suppose that's part of the point - it doesn't have to be meaningful or even have meaning. I could talk more, but I think I'll leave it there for now. Please post your favourite Iranian films or suggestions as a reply to this post.
>>1255 The Taste of Cherry was the first iranian film i saw, mainly because of the whole Palme d'Or thing. I remember suffering greatly seeing it because it was a very slow burner, all the emotions are subdued and especially considering the protagonist who was completely numb to the world surrounding him. I was very young so definitely not used to slow movement but i think i would feel unnerved by its speed again if i watched it today even when i really enjoyed the concept and dialogue itself, especially the "ironic" ending. >Spoiler I don't remember that, maybe it's the outtakes and bonus clips plastered at the end? or some sort of director's cut because i recall the runtime being exclusive to the plot, quite short too i think it was under 90 minutes but felt like 3 hours. Now that you mention it i recall remembering some clip on how the director/cinematographer was all compacted into the passenger's seat trying not to appear in the shot but doing so anyways, and the protag's actor taking the piss making rough corners to bother him. Was that in the film itself? i don't think i would've searched for that on Youtube, especially back then in 2008. Some beautiful shots at times have to say, especially when he visits the mine's (?) guard in the small watchtower.
>>1256 Here's the ending and final scene in question: https://www.youtube.com/watch?v=9DQ8GPzMIPs It is very much intended to be in the film, and part of the film/your experience with the film. Some really didn't appreciate the ending (from memory, Ebert despised it) but I think it perfectly encapsulates a recurring theme in Kiarostami's films in a much simpler way. That watchtower scene is very beautiful and simple. It is an austere film, but I wouldn't quite say minimalist. That's something I like about it - the film isn't indulgent, but is still rich in characterisation, shot composition, and meaning.
Dariush Mehrjui is an interesting Iranian director who hasn't been mentioned yet. Mehrjui studied film and philosophy UCLA before returning to Tehran to begin his career. He kickstarted the Iranian New Wave with Gaav AKA The Cow (1969), a film smuggled out of the country to critical acclaim at the Venice Film Festival. It examines a poor villager's relationship with his prized possession, the one thing that gives him joy: his cow. While the film isn't quite perfect, I was hooked by the layered story of poverty, psychosis and mysticism told with striking black and white cinematography.
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>>381 hue
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Does anyone have the Ballad of Tara?
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