cinema trust Hasan Lotfi wrote in Etemad newspaper: “I didn’t see it, I don’t say that the unknown cause of death movie is a valuable movie that should be seen.” His producer (Majid Barzegar) is not ready to produce any film. Maybe this goes back to his selection, background and experience in making short films. Of course, that’s not all, because there are many filmmakers in the cinema who had a good start with different short films, but when they entered the professional cinema, they fell on their knees in front of the ridiculous taste of some producers and forgot what kind of film they were looking for in their dreams. This was not the case with his first feature film (Monsoon season, which he was the writer and director of), Majid Barzegar showed that he does not want to please the audience at any cost.
With the films of Parviz and a completely ordinary citizen (both as a writer and director), he strengthened this belief, and then continued his film career as a producer, and was still in the ranks of cinematographers who seem to have little desire to sell at a high price and make The film is not without impressive visual and artistic capabilities. It goes without saying that this interest does not indicate his lack of need and interest in capital and money. Which filmmaker is not interested in money? Undoubtedly, the interest of independent filmmakers, which I think Majid Barzegar is on their list, is more for money and personal capital than others, because if they have capital, they can direct and produce the films they want more easily, and more importantly, against the seizure of their films – as if In independent cinema, the social is inevitable – endure. Although it is painful to claim such a thing (the inevitability of banning social independent films), it is proven by the history of Iranian cinema.
Many films can be found in the list of banned films of Iranian cinema, which have not been allowed to be released for years due to their themes, and in the same years, pseudo-critical films from affiliated filmmakers, which have been allowed to be released with harsher themes, can be mentioned. As if it was more important for the auditors who says than what they say! Of course, the history of cinema and the fate of banned films also show some other points. No film remains banned forever; After lifting the embargo, it becomes clear that the appraisers’ concern was not very valid and was completely tasteless, and most importantly, no one is responsible for the material and moral damage of those involved in that film. Excuse me and we made a mistake, auditors and their supervisors and their elders have no place in the usage circle and…