Cinema The forty -one period of the Fajr Film Festival is one of the special and special periods in the history of the event. It was a festival held in the struggle of government relocation and the change of cultural and cinema managers. For this reason, the forty -one of the Fajr Film Festival is one of the festival’s periods whose films are made by the new government and the new government. By the way, the content of this Fajr film can be seen as a result of the 13th government policies and programs in the field of cinema. Martyr Ibrahim Raisi’s government had two general policies about cinema; The first attempt was to revive and revive cinema in Iran by diversifying the works, walking into different species and genres, and paying attention to themes and themes.
This policymaking was more evident at the Forty -Sawm Festival; Almost all genres and under the genres were present at the festival. Unlike a political propaganda that induces it over the past three years, the so -called social cinema has moved to the recession, but social issues have been abundantly present at the Forty -Sawm Festival. Perhaps it can be said that the forty -one Fajr Film Festival is statistically the most unique period in the field of film presentation with social subjects.
This shows that political propaganda has been widespread about the contradiction of the Thirteenth Government’s policymaking to the production of social implications. In addition, there were other species and contexts such as comedy, fantasy comedy, war and sacred defense, historical, historical-religious and even a film with veins of the horror genre at this year’s festival.
The second approach in the government of Sayyid Ibrahim Raisi was genocide in cinema; During the recent period, the new generation filmmakers, especially the filmmakers at the festival, were first. In the forty -third period of the Fajr Film Festival, this policy was also prominent. Perhaps the Forty -third Festival was the first period of the festival that the filmmakers had no presence before the revolution, and of the first generation of directors after the revolution, only three directors (Ibrahim Hatami Kia, Abolfazl Jalili and Rasool Sadr al -Sadr) were competing.
The competition section of the Fajr festival was 13 films and others were often films and films.
The number of good and watched films at the forty -third Fajr Film Festival was too expected. Prior to the festival, some critics and experts predicted that we would not have good films at the Fajr Festival this year, but this was a period of periods of the Fajr Festival, with high and relatively good works and promising average, high statistics. . However, the poor, weak, and very weak moderate films were present at the festival. If the Fajr Festival Competition section, like the last three rounds with twenty -two or twenty -three films, would certainly have witnessed a different festival. But the big and bulking of the race only increased the number of poor movies!
Overall, it can be said that the forty -third Fajr Film Festival is one of the top festivals in the last 10 periods in terms of the presence of spectacular and high quality works. The good works of this festival are selected by the author of “Moses Kleimullah”, “The God of War”, “The Babies of the People”, “Esfand”, “Peshmerga”, “Dolphin Son 2” and “Natur Dasht”. The average and acceptable works of this Fajr festival include: “Sayyad”, “North from the Northwest”, “Tears Hoor”, “King Naghsh”, “1968” and…
But definitely the best, the new movie Ibrahim Hatamikia is; «Moses Kalimullah; The sunrise »which is actually a new dawn for his director. A film that goes beyond Iranian cinema and the best experience in producing a religious-religious film. Hatamikia showed that at the age of sixty -three he is still Borna, with motivational and well -being. Given the heavy production of the historical film, plus the director’s specialized background, the greatness of Hatamikia’s work is more evident. The film “Musa Kalimullah” is a new achievement for Iranian cinema and will last in the history of our country’s seventh art.
Another shine of the forty -third Fajr Film Festival is “The God of War”. The film that has not been so beautiful and poisoned, but the narrative of the film reveals a beauty and prosperity in the country’s missile industry. The film is the story of a young champion named Ibrahim, who, during his sacred defense,, with his efforts and devotion, leads to independence and self -reliance on the production of missiles. Hassan Darabi has produced a proportional theme in the third feature film in his third feature film. The two proud operations of the “Sadegh Promise” soon came to the cinema, and the film deals with the origins and origins of the missiles that broke Israel’s heart in the operation.
Finally…
The forty -one Fajr Film Festival is not a serious benchmark for the 14th government cinema management, as the festival’s works are the product of the previous government. It is hoped that the new government’s cinematic management, which actually delivered a saddened horse and had a fairy hand to hold the Fajr festival this year, will be stronger. It is feared that the new managers, especially the Fajr Festival Policy Council, which have a particular tendency and approach, will once again turn our cinema back and repeat the events of the 90s in the cinema. Again, like that decade, the absurd and sexual comedy dominates and the social prospects move to absolute darkness and stalemate. Again, there will be barriers to youthfulness and genocide in cinema, and pastism overwhelms the foresight. One example is that at this year’s festival, it was not possible to release short and documentary films at the festival center. However, the winners of these two sections not only have the right to be displayed in the festival’s palace, but can also be screened alternately during feature films and in the main hall to find better conditions for seeing.