Cinema Trust Cinema director Ali Karim wrote in the newspaper Etemad:
Whenever our beloved country of Iran is under the pretext of a cinematic, cultural or sports festival in every corner of the world and at any time, I am proud of myself and I believe that a great step towards the sustainable development of our land is taken; The same thing that we all consider to be critical of it.
Iranian cinema, one of the most prominent cultural manifestations of our peaceful land, is a mirror of the 7,000 -year civilization and culture. At some point in history, Iranian filmmakers have created a profound and profound impact with their work that even years of political and social efforts have failed. But alas, this influential and influential art of its elites, in the political and social context of contemporary history, has been exposed to anger and pattern changes, and has sometimes even died in anonymity.
In social and political actions and movements, after ordinary citizens, it is the art and the artists who are harmed. Sometimes, even in political disputes and the change of governments in the same structure of the Islamic Republic of Iran, filmmakers are again damaged. The bitter memory of the unilateral cancellation of the film contract and several other projects that were closed with the Farabi Cinema Foundation and was terminated at the beginning of the 13th government is a testament to this bitter fact.
We regret, with regret, what adults and elites who had to leave their homeland in structural changes after the developments of the year and stayed around the borders! A little exploration in contemporary history reveals a bitter truth: one day or night, in an unwritten, artistic community, people, revolutionaries, and everyone else, they closed the treasure of decades of national and popular support to make these loved ones long and forced.
Alas, I am still reproducing the same monochrome and angry look, despite this bitter experience in the past years and its constant review of the contemporary elites, with the constant regret of their return. The elite claimants still have the past one -dimensional political and social framework, and may even draw red lines to limit the artist and his work in governmental, non -governmental or non -governmental bipolar. The strange is that we call festivals from inside and outside; Just like the early days of the revolution, they divided the filmmakers into “revolutionary” and “revolutionary” or the people into “Savaki” and “Hezbollah”.
Fortunately, some companions and artists who have unwittingly disrupted cultural disasters have attacked the various generations of filmmakers and their works created in Iran and within the framework of internal restrictions, and have been brutal in single courts. One day in the week of UCLA Iranian films against Kiarostami films, they stood at the Cannes Film Festival against Asghar Farhadi, and today in front of a new filmmaker in this cultural limbo, the only idea is to illustrate his beliefs and beliefs. Alas, with this monochrome look, we continue to be in the historical cycle and never fly to the future.
Decades later, no one will remember what film with what permission, in which festival, at the time of which president or Minister of Culture was displayed or built and approved by which critics were approved. The only thing left for the future is the artwork itself; A naked work, apart from the temporal, spatial and political conditions, impregnated with the poisonous suffering that we have had with the artist and his work with a one -dimensional look. The horrific is that this large black spat will remain in the historical and cultural memory of our country forever.
I wish, at least the current cultural and cinematic executives, were more careful about changes in the existing biological, political and social pattern that even form the main context of stationary government dialogues, and found a way out of this dual and destructive context. Although I believe that for the “new” work, there is a need for “new” individuals and thoughts, and with the same trade union representatives, the same old words and contributions do not work effectively.
Come on to raise the flower and throw it in
Cut the roof and draw a new design
Writer, director and producer