Cinema Ali Afshar wrote in the Etemad newspaper: The best version for the treatment of the Fajr Film Festival is the festival itself. I write this, contrary to the esteemed opinion of the festival’s secretary, who said, “The past has become a memory.” And I ask a clear question: “If it weren’t for Fajr and its strictures, the growth of Iranian cinema would happen in the sixties?” The answer is negative. A large percentage of the content and technical success of our cinema is owed to the predominantly judgments at this festival.
[اشتباه داوری اینجا هم جزیی از بازی جشنواره است و به آن کاری ندارم] Most of what has been left out of the festival for many years: “streaming and respecting the cinema”. Mr Dawn is right that Simorgh fell out of the coin that day when the logs of coins and cars were attached to it.
It is true that this should not be a bonus award that can be seen at home. Do you know what is the cause? The reason is the “misconception of justice”. Who said the Simorgh Prize is the trophies and should reach everyone? I wish the same person would come to the first year of the government and write a healing copy of Simorgh’s patient body to cope with his wounded wings. If the consensus on the festival’s policy -making body has responded to the present day, from today to the closing day, it is better to stop extremism.
The contribution and contribution of a major obstacle to the progress of our cinema through the festival.
When arbitration like Reza Hastikar (Cinema Critic) is present at the Forty -Third Festival and may even be the head of the Fajr referees, this year’s refereeing can not be defenseless. I don’t believe in boycott at all. I’ll give you an example. If a woman’s game in an organic movie is a standard game and cannot be ignored, if the criterion is cinema and she is nominated or nominated, this is a festival standard and her elimination of playing in the organic film. But we have not served the cinema because of the slogan or roadmap or strategy of consensus. Remember that when you say the top ten post -revolutionary Iranian cinema films, much of these works belong to the years when the Simorgh Fajr was difficult and the criterion (mainly) cinema. Like the seventh, eighth and ninth periods, the same periods that are both memories and in my view, exemplary. Or even later the sixteenth or thirty -third periods. The strategy of extremist consensus in cinema and festival judgment was followed by the “best film in the absolute concept”.
Then there is no room for concern, because the important way to treat the festival’s fine and large illnesses as well as Iranian cinema is the strictness of arbitration, and it has been a long time for housing and reinforcement treatment. Cinema surgery at the festival’s field is happening where he abandoned the slogan, for example, if there was no Best Film or Best Actor or Best Screenplay, he would not have awarded the prize and replaced the “Jury Statement”.
The festival is alarm. Unlike some of my colleagues, I believe in the experience, taste, strength and knowledge of the festival’s secretary, and I still believe “who is different to the secretary of Fajr”. Manouchehr Shahsavari has shown that his understanding of Iranian cinema and Iranian filmmakers has acted as a catalyst for him and for the Policy Council. Tips, intelligence, reactions, conditions analysis, crisis management, ethics -based behavior, and most importantly, are the highlights of the festival’s secretary. That is why I say that the taste of the secretary and judgment of Fajr will play an important role in drawing the future of Iranian cinema, if his mentality is far from extremist consensus and misconceptions from cultural justice.