cinema trust Tasnim wrote: It was the first anniversary of the death of Dariush Mehrjooi, a well-known cinema director, and his wife, who were murdered in their home; A sad event that happened in the beautiful plains of Karaj. This tragic incident is still being pursued in judicial and legal procedures, and the perpetrators are in prison, the investigation is ongoing and will continue until the result is reached.
We in the media field, like cinematographers, are waiting for the perpetrators of this painful tragedy to be punished for their actions, although the void of Dariush Mehrjoui and his brilliant works will never be filled in Iranian cinema.
Many artists gathered last night to honor the memory of this great director. At the conclusion of the Isfahan Children’s and Adolescent Film Festival, Ali Nasirian pointed out an interesting point: “Iranian cinema invited people to go to the cinema during the peak of Persian films, and after the Islamic Revolution, it moved more towards quality, content and scripts.”
Many other great people have also talked about Iranian cinema many times and have criticized it. Why should the audience’s taste be directed towards vulgar comedies and serious and so-called artistic works be sidelined? But this is not a proof that cinema is oppressed and dead.
The same cinema that Masoud Kimiaei considers in his recent video to be oppressed, despite respecting his artistic position and understanding his concerns about the state of the country’s cinema, the use of such words and their absolute expression can be criticized. First of all, this point should be noted; Using the word “dead” for Iranian cinema, even with the intention of showing its unfortunate situation, is very heavy and unfair.
Despite all the challenges and limitations, Iranian cinema is still alive and talented and creative Iranian filmmakers are trying to make valuable works. It may be said that Iranian cinema is going through difficult and ups and downs, but it is definitely not dead.
Although Masoud Kimiaei boycotted the Fajr Film Festival in some years and did not participate in it, his relatively weak film was released and was respected by the festival authorities. It was not well received by Kimiyai fans, but the same Mazlomordeh cinema also put these works in its proud showcase.
In his video message on the occasion of the anniversary of the death of Dariush Mehrjooi and his wife, Masoud Kimiaei considers himself and Iranian cinema to be oppressed, but in an era when audiences mainly watch movies and series through downloads and online platforms, movies that have sold more than 1000 billion tomans Can it be the oppressed dead?
Can a director who has always been respected by the officials of Iranian cinema, both government and non-government, and even his weak works have been respected and respected, can be considered the oppressed dead?
This cinema is still alive and continues its path with strength in the situation that even the televisions of the world are trying to attract the audience and talk about the decrease of viewers. The alchemists, Mehrjouis and Taqwais have always been respected with their brilliant works, even if they sometimes leave a message out of sadness and call the stout tree of Iran’s seventh art the oppressed dead.
A general statement without examples about the “death” and “oppression” of cinema does not help to solve the problems. Instead of using such words, it is better to deal with the problems and challenges of Iranian cinema in an exemplary and documented way. Examples of the problems can be stated and for Each of them offered practical solutions.
Finally, it is better to look at the future of Iranian cinema with a more hopeful and constructive view instead of talking about “oppressed dead cinema”. It can be boldly stated that Iranian cinema is alive and known to the world more than ever before, in fact, cinema is not only not dead, but with new faces, new voices and new stories, it has entered a new path of life and evolution. .