Abolfazl Mohoram: The 41st festival is an introduction to the birth of a generation of Iranian filmmakers

According to the film reporter of Fars News Agency, the Internet TV program is the special point of the 41st Fajr International Film Festival, which can be seen and watched on the platform of Rubika and cameras, with the participation of the Film and Screening Department of the Basij Artistic Cultural Vice and the Ravino Institute, as well as the Basij Film Screening House. It welcomes the guests of Fajr International Film Festival at Milad Tower every night. The first guest of this program was Abolfazl Mohoram, a film and television actor, whose works include the movie “Ejected” and the series “Destiny”, “Silent Death”, “Intrusion”, etc. In this program, he points out the importance of Fajr festival films and also the necessity of the central role of the hero in these films.

Along with pointing to the boycott of the festival by some people, Abolfazl pointed out the enthusiastic presence of people in the theaters and added: Although the discussion of boycotting the Fajr festival was raised in some media, the presence of people in the theaters and even this The conference hall of Milad Tower has shown that Iranian people are mainly interested in watching shows and movies. Although there may not be many names in this year’s festival, I believe that this year we will have stars who will find their place in the country’s cinema. The first films that had a good participation in this year’s festival, and this shows the necessity of skinning in the films of the Fajr Film Festival. In fact, the names that came to the Fajr festival every year and won all the awards in their name have left, and a new generation has entered the cinema cycle, some of whose works were a neck higher than the famous directors.

Along with this, he pointed out the need for correct cultural alignment in the cinema industry by the officials and cultural custodians, and in this regard he says: In all the countries of the world, the cinema industry is subject to the policies of that country, and even in Hollywood we see that there is a wide capacity for the US system. The United States creates in order to achieve its goals. Of course, this is not specific to Hollywood, it is the same in Indian, Korean and Hong Kong cinema. The fact that Korea is considered one of the advanced countries is partly due to the cinema industry, which has been able to make movies on par with Hollywood, so that some of its works, such as Squid Game, become global, and for years, Korean movies and series have been able to be among Become the most viewed works in the world with a high score in global rankings.

This TV and cinema actor also mentioned the role of the cinema industry in the cultural export of countries and added: As I said, Korean series and movies are one of the indicators of the transfer of the culture of this country to the whole world, and this is the essence of filmmaking in the world. Is. Compare this model of filmmaking with our own country, see how much our films convey the native culture of Iran?! We have been censoring the Islamic Republic of Iran in our films for years and filmmaking has moved towards foreign festivals. Personal benefits and receiving awards from foreign festivals have replaced cultural transmission and national beliefs.

He considers blackness to be a common feature of some films of the last decade and says about this: For years, exaggerated blackness in Iranian films has caused a depressing image of our country to be transmitted to the world. If the future of Iranian cinema is to go in the right direction, we must first have our own national cinema and show the true identity of our country in movies. Why do our filmmakers go for absurd films? We can show the problems of the society in a more poetic language in the movies, exactly the point that can be seen in the movies of other countries, especially the Americans, the end of expressing the problems and hardships is a wave of hope in most of the movies. foreign that this category has not been formed in our films. To state more generally; In fact, how many films made in these Fajr film festivals were consistent with the nature of naming Fajr Islamic Revolution? Except for organic films, almost none of them have had this affinity. In fact, we are showing an incomplete and wrong copy of Western works in our films.

Abulfazl Mohamad mentioned in the Internet program “Dotk” the necessity of a bold role of the hero in the movies and considers Haj Qasim Soleimani to be an original capacity in line with this hero-making. In this regard, he says: In all parts of the world, the hero has been a main element in cinema, but this element has become less and less in our country since the 70s. Of course, these few years, some directors such as Mr. Mahdovian and Mr. Hijazi Far, who are old friends of Banda’s, have moved towards the central hero of the story, which is a great reason to be happy. Mehdi’s position; Lottery, standing in the dust, and even series such as Yaghi, these were hero-centered stories, which happened to be well received by the audience. In my opinion, in our future and national cinema, the discussion of the central hero should be seriously demanded. In our country, we did not have many heroes who were the focus of the story. A clear example of that is Haj Qasim Soleimani, who was an unmatched hero, a character whose work may have been inspired by him. We don’t need to make imaginary heroes that don’t exist in reality like Superman and Batman because our country has people like Haj Ghasemi who existed in reality.

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