Cinema One of the good and interesting events of this year’s Fajr Film Festival Abolfazl Jalili It is in its competitive part. The well -known director has returned to Fajr after five years, and now the hopes for the public release of his film are far more than ever over the past five decades.
According to IRNA, Iranian cinema management with Jalili has two interesting sides. In all of these for more than five decades that Jalili has been filming professionally, the two sides did not disturb each other, as if they had nothing to do with each other. Interestingly, they did not prevent each other, and the relationships between these two poles never led to conflict.
Jalili has been filmmaking since year 4, and except for his early films, which were limited to a limited way, no film was found in “Widespread Public Screening”. Interestingly, the director’s films not only had little trouble for the public, but also because of the ethical components, they were also interested in cinema management; In particular, the champion of Jalili’s works is generally a teenager whose issue of foresight and human desires have superiority over other infrastructure aspects.
Why these ethical and educational films had no place in all these decades is the question. Jalili, although not in all these years in Iranian cinema, has been honored by small and large world festivals for five years. Jalili has won a World Prize once a year, which is found among Iranian filmmakers.
Of course, those who know Jalili closely know that he is not looking for cinematic organizations and management. Equally, away from the margin. In contrast, cinema executives, all these decades, have not made an attempt to approach the filmmaker so that everything between these two poles would be in a vacuum. Jalili made the film on the same concern and sent them to small and large world festivals, and internal management did not show a dedication to hear the filmmaker’s words and his public screening.
Jalili’s films were screened at various festivals, according to the Fajr Festival Code, but this year the removal of this clause created an opportunity for the author of Iranian cinema to come to Fajr after five years. The film, which is still the main hero, is a teenager who tests in a moral chapter and moves the narrative forward.
The constraints of the 1980s and early 1980s led some filmmakers to focus on child and adolescent cinema. These filmmakers, because they could not turn their social subjects into film, moved to children’s and adolescent cinema, which had more freedom, and returned to their original origin as soon as the space was opened in the mid -1980s.
Jalili was not of this kind. Since the 1980s, he has made a film with the same formula and is still seeking to test ethical and epistemic shirts in teenage heroes. He is still filming with anonymous figures and seeking their inherent talent. In this sense, Jalili’s ethical cinema is a trophy for Iranian cinema that has little substitute.
A glittering cinema and conventional cinema, which has always been limited to production with little capital, and without any media claims and space, only thinks of “authenticity”. A respected functional paradigm that has responded at any time; At least for filmmaking like Jalili, who has made this film in this way from the 1980s and has always been able to maintain its credibility. He is definitely one of the major events of this year’s Fajr Film Festival.
Photo: Saba