Cinema Saeed Marwati wrote in the Iranian newspaper: The importance of finding the new film Saeed Roustani to the Cannes Film Festival competition section can be found from the negative reactions of the overseas opposition. In the last five years, Iranian films could only go to the World Class A festivals in its underground, and have basically recognized important Iranian official festivals. As a matter of fact, after the presence of Leila’s brothers in Cannes, which had many margins, no film from Iran was accepted in Cannes unless it was a product of underground cinema. As soon as Jafar Panahi has been accepted this year. From this point of view, finding a movie from Iran, made in accordance with legal rules inside, can be a prelude to a new era.
During these years, part of the out -of -the -art opposition has created a pressure group that had been advice on the festival’s executives and decision makers: preventing artists from seeing all the problems in Iran to make a film in Iran. The 13th government’s cinema policies, which promoted the production of two types of comedy and organic film and the prevention of social drama, acted precisely in accordance with the demands of the outside opposition. Not tolerate the level of social criticism in Iranian cinema
Eventually, it led to the reinforcement of underground cinema that, apart from any framework and restriction, by crossing the red lines, purchased a form of legitimacy for itself. “Women and children”, regardless of what the quality it is, can disrupt the extremist views that define Iranian cinema in a narrow circle. A movie that has not yet been hit by attacks is likely to be shown in the inflamed atmosphere.