Cinema Trust , Mohammad Reza Lotfi wrote in the Etemad newspaper:
The price of cinema tickets reached one hundred thousand tomans in the year, and this price increase has a wide range of reflections, some opposed to rising prices and some agree.
But before we want to evaluate the price rise of cinema tickets and how much it is reasonable to rise and whether the cinema ticket needs to be more expensive, it is not bad to address the cinema itself, and it has been referring to its day and day these days. Be. What has almost raised the voices of cinema and serious audiences these days is that the various types of cinema are being destroyed and what we see on the screen, not the cinema, but not in the cinema. The comedy film we see in quasi -comedy films and the whole cinema has been conquered by these quasi -cinema films, and art, social, Xperimental, cultural films have been isolated and we have almost no production in the field.
But what is the reason for this? In my opinion, this has two main reasons:
2. Carnabel, anonymous and unnamed cinema producers whose entry into this category was through communication with the organs and was able to get a producer card and produce a film. This has made production balance and no logic in production. There is no movie.
2- I know the reason for the isolation of social cinema, although I believe we have some literate and knowledgeable filmmakers, but these people do not reach the number of fingers, and at the present time the fate of the film is determined by filmmakers that the film is well-known. To make a movie either bad or not to release a movie.
The fact is that the fate, success, or failure of the films these days is a lounge and a filmmaker.
One example, if I want to give an example of Pierre President, that one of the cinemas that has a large number of cinemas nationwide has announced that filmmakers do not release the film because of the long -term film timing.
A brilliant film and all the criticisms of it have been positive, they admired all the film, but the filmmaker says I will not release it because of the Time.
I think this is a flip that shows that the hall does not have the cultural part of the film, the lounge can be a good business, but remember that the cinema is industry, but it is a cultural commodity and must be preserved if it is preserved. Not that is what we are seeing today, the isolation of artistic, social thought cinema. Social or Cultural and Art Cinema is always a leading cinema. If film is produced in these fields, the creators try to make a few steps ahead of society and discuss important topics in their films, but what matters is the hard throat of building licenses and licenses alongside films. The organ has made the films produced a few steps behind the community and it is natural that the audience is reluctant to see something behind the cinema that is behind itself.
With all this talk, is the ticket of 6,000 Tomans appropriate and reasonable?
In my opinion, the ticket of 6,000 Tomans against cultural products, whether theater or music concerts or painting gallery prices, etc., is a low amount.
That is, the $ 6,000 is a low price than the price of other cultural products, and it should be said that cinema and movie watching are still a cheap entertainment for the audience. Today, 100,000 tomans are not significant among cultural and non -cultural items. The price of cinema tickets is not the same as a wooden ice cream, so I think the price rise of cinema tickets is quite natural, but what the opponents of the rise in cinema tickets are pointing is that with the rise in the price of cinema tickets, the middle class and families are less likely to come to theaters. And they see the movie. In response to these opponents, and unfortunately, thanks to cinema executives in the previous government, serious plowing among the “cinema” audiences was struck, with serious audiences away from the cinema halls.
In my opinion, we don’t have to worry about families and those who are serious about the cinema like students, because unfortunately (I use the word unfortunately because it has to be acknowledged) families are no longer audiences of cinema, today families have their own visual needs. They provide satellites or if they are a little more thoughtful in the platforms, they are looking for what they want.
Unfortunately, today the people who care about cinema and art are not going to the cinema, why? Because what is being named in the name of cinema is behind the community itself, and again, because of the strictness of the License Council and the Licensing, this part of the audience meets their needs in cafes or theaters or at the end of the platform.
Now the question is then who are the audience of today’s cinema?
I say to a decisiveness; The audience of today’s cinema is the same audience of the Rivandi concert and fish that pay the price of a concert of 800,000 Tomans for the concert, so there is nothing for them in the cinema.
So this kind of audience, whether in the Rivandi concert, the movies they see in the movie theaters are just their desires, this type of audience is not important to them. They go to the cinema to see the soul, so it sells the cinema’s quasi -tickets, and for this type of ticket audience is a small number of tickets compared to the 800,000 Toman ticket.
And lastly, if the Cinema Organization has a serious determination for the dynamics of thoughtful and cultural cinema, art must make the audience back to the cinema, the audience that is inclined to real cinema and keeps the cinema alive alive. They become social and make cinema reconcile with the cinemas and bring them back to the hall.