cinema trust Saeed Rajabi Froutan, one of the directors of Saiq Cinema, wrote on his personal channel: In the closing ceremony of the Truth Documentary Festival, three officials and a filmmaker unanimously demanded to open up space for the enlightening presentation of society’s issues and realities in documentaries.
Hamidi Moghadam stated: “Cinema-Ghekrit” in its 18th edition showed that Iranian documentary cinema needs tolerance and leadership from officials, directors and groups who did not like the screening of some films. Here is a space for interaction, a stage for dialogue, a university for learning and hearing different voices and opinions. “Truth Cinema” can be a platform to narrate shortcomings and problems and think of solutions to solve them. Here, it is a reflection of the spirit of the society, a society that wants to make its voice heard by officials, elites and policy makers. Think about the future beyond political and factional views. Therefore, the documentary maker must be able to work within the framework of the law, but be frank, questioning, and transparent.
The documentary maker is a watcher and a visionary, he paves the way for the society to pass through. Documenter keeps “size” and alerts. This desire for justice, efforts to eliminate discrimination and deprivation, anti-corruption and storytelling should not be taken from him.
Faridzadeh, the head of the cinema organization, saw the opportunity to say:
Documentary cinema is bold cinema, and the documentary filmmaker is boldly seeking to solve the problem, ignoring the problem will not solve the problem. The documentary cinematographer is concerned, curious and researcher and is aware of the documentary aspects of cinema. Documentary cinema is the preserver of history and culture. If we don’t remove a stone from the feet of documentary filmmakers, at least we should pave the way for them.”
Dr. Salehi, Minister of Culture, pointed out the fact that:
“Iranian cinema is a window to the world, let’s be careful not to close this window.
Our tolerance towards documentary cinema should be more and more.”
A look at the words of these three senior managers of Iranian cinema, along with the expectations of the documentary makers, clearly shows that, as in the past, the Haqit Documentary Festival was not held without bloodshed, and many efforts were made to persuade some of the people and authorities that the film or they did not like movies, it has been done; What if it was otherwise, some films would have been removed from the screening schedule or would have been caught in the slaughterhouse of audits and adjustments.
In the coming years, the producers and directors have the least hope to make up for the past and understand the obvious and hidden issues of the society, so that they can better analyze the social damage and not be afraid of the consequences of making it. Otherwise, documentary cinema will only be limited to specific and neutral topics and will lose its bold function.
The existence of thousands of corruption cases, the wrong and damaging strategic decisions of some statesmen, the mobility of mafia gangs in various economic and social fields, each of them alone are attractive and instructive tools for documentary cinema.
The direction of fictional cinema in recent years has shown that unnecessary strictness leads to obesity and the accumulation of merely entertaining films, and other genres and dramas are marginalized.