Cinema Trust Ali Mohammad Ghasemi, a documentary and filmmaker, says the documentary “Voice of the Valley of the Glyges” is a reaction to the sudden death of Ibrahim Asgharzadeh, a filmmaker and actor.
Ali Mohammad Qasemi, director and film director who has been released in Filimo these days, three documentaries, “Saturday’s Report”, “Voice of the Valley of the Glyges” and “The pleasure of killing”, said: “The films were made to be seen, years ago, it was only possible to show on the cinema and possibly television and television. Currently, technology has given the audience more opportunity to communicate with the broader and more pervasive variants of the audience, even if it is in the absence of the filmmaker, as well as the online screening of the audience, the show is in every way, the help of this art created, this representation, this interpretation, and everything to define.
He continued: Online screening is an opportunity that technology has given us in a time of isolation and away from the crowd and brought new conditions in today’s society. In Iran, television, with one -sided thinking and emphasizing its defined values, eliminates films that are out of this definition, and such works, in the vacuum, are possibly possibly to escape online show, which is free of orientation. The documentary must be free to express the beliefs and definition of the world around him, and the ability to display online can store different types of documentary so that the audience can access them with a wing, as well as an opportunity to repay the filmmaker’s costs.
The director said about the production of “Saturday’s Report”, which deals with the activity of Martyr Andersgou: This documentary was made at the suggestion of Mohammad Afda, the then director of the Center for Expansion, and it was the opportunity and excuse for myself to find direct and explicitly to the angles of a revolution that made the path of history in a different way. Saturday’s report narrates a 4 -year -old course that has a lot to say.
Qassemi emphasized: It was a difficult documentary that was built by a group of about 4 people over a five -year research group, and in the field, libraries, visuals, research archives. In this film, the puzzle of life of Andersgu was formed as a revolutionary fighter, and regardless of any life, a moment of the thoughts of religious revolutionaries became historiography. It was a tough film that was not a good end for me as a director, and lacking knowledge of some center managers put fatigue on my body and my team.
The director of “Twenty -Two Million Nodes” commented on the research section of the documentary: personal, television and foreign resources archives were used for archive images, with approximately 2 % of the images, archives and seventy percent being filmed in Iran, Pakistan, Iraq, Turkey and Syria. The relatively high cost of production and the lack of commitment to the new center managers made me sell the houses in Tehran so that I would not be ashamed of the production factors. Unfortunately in Iran we are welcome and bad.
He pointed out the prolongation of the documentary: The reason for the dispersal of information, places and the ability to access those who had a revolutionary movement at that time, as well as detailed research, filming and editing, and the final version of a small portion of studies, images, recognition, and eventually increased costs.
In the next section, the documentary said: “When Ibrahim Asgharzadeh was filled with death, we had a relative friendship; A energetic, well -liked young man who had made some good documentaries and refreshed our hot. His departure was a fatal blow, and my heart was only to endure the pain, and it was indigestible to me. Abraham’s passion and love made me create a documentary about him, and because the chariot of death was in the Gulj Valley, we named his name “Voice of the Gulj Valley”, a voice that would not be extinguished.
He continued: Created to the respect of the filmmakers who supported The hat was worried, worried about them, away from their self -class categorization, giving everyone the opportunity to express ideas. This was a mourning documentary for Abraham, which is why parts of his films were used, the enthusiasm he had to express his themes was alongside our filmed images, as well as to express this contradiction, life and death.
Asked why Ibrahim Asgharzadeh’s personal life in this documentary, Qassemi said: For me, Abraham’s enthusiasm for cinema, not his personal life, was not going to make a portrait film, but we made a film to praise Abraham’s love for cinema.
The documentary maker explained the film about those who were no longer present: We were sitting and talking with the same energy that he loved my eyes, saw my films, and he was honest and critical of his views, had no compliments, and what he said was an excuse for dialogue, and it was more important than the film itself. Sometimes a co -authored excuse, and the film could have been a good excuse for a long conversation. He left his life for the cinema; He went to record a sound and his departure was back.
“Sometimes we do not choose our topics to make the film, but choose our topics,” the director of “Killing the Killing” said about the film. The forest has always been more pleasant to me than the bustle of the city and the fuss, the peace that the forest gives and the loneliness it creates is more pleasing to me, when you find yourself more lonely. For a long time I heard the sound of firing that disturbed the forest, I was curious, and the “pleasure of killing” was the result of this curiosity.
He emphasized the contradiction in this documentary: “We all have contradictions that are essential to every human being.” As far as the government gives his money, the man is the keeper of the forest and animals, but when he gets more money, the hunters guide the hunter to the bird he was watching until yesterday.
Qassemi said about not making the documentary in recent years: In all these years of cinema, I have filmed, documented and will continue to build, I have never been unemployed, but the temptation to take the speaker after the fifty is lost, silent and do your job. For me, cinema is love, passion, commitment, energy, and a way of forgetting pain, the opportunity to re -hope, dream and live in the dream, otherwise the cinema is standing in this unrestrained situation, and we will not open the door. Cinema gives the opportunity to dream and a dream helps you live, without a dream, we all die.
“I never wait for a call to work, there are many things I have to do and slowly,” the filmmaker said. I have worked in a complicated documentary in recent years that I have tuned, maybe my voice will soon be heard.