Behrouz Afkhami’s opinion about May To movement

According to the Fars news agency, Amirreza Mafi, who is in charge of the implementation of this program, said at the beginning: There are definitely criticisms and debatable events. But those who tried to make cinema die must be making desperate efforts because cinema remains strong.

After that, Behrouz Afkhami, the producer of “Ostad”, said about joining this project: Before I joined the film, the work was finalized and the rehearsals were done. Majid Rajabi-Mamar, who was supposed to be the producer, had a problem and I was offered to be the producer. The fact is that I did not expect this so-called film to turn out well, but now I am very happy that I was able to help Emad Hosseini make his first film.

Pointing out that the topic of “Master” is about the “me too” movement, he said: At first, I thought that it was impossible to make an attractive film about this topic, because since a large number of women said yes, “me too”, the issue is vulgar and Out of reasonable limits. In such a way that court cases should be filed one by one.

The producer of “Ostad” emphasized: This case is different in Iran and America. However, in the same America, the subject was taken to vulgarity and it got to the point where everyone would say yes “me too” to attract attention. The issue expanded to such an extent that it made one imagine that some of them are doing such a thing to attract attention, and they also destroyed the value of the initial protesters.

Afkhami, in response to the question, is the professor an intellectual in criticism? He said: I think you have to find a good story first and then make a warm movie. The movie is not for sending a message. But if anyone thinks that there is a politically oriented theme in the film, we would be interested to hear and see if it matches what we felt was in the story or not.

Seydeamad Hosseini, the director of the movie “The Master”, said about the choice of Hasan Majouni: We have been thinking about Hassan Majouni since we started writing the script. There were other options, but he is considered a legend in the theater for our generation, and we thought that his face, which evokes good feelings in people, is very suitable for this role.

By stating that while making the film, he thought that he was deprived of a series of cinema tools, and clarified: regardless of the image limitations we have in a subject like aggression; Anyway, we were looking to make the work in a location with few characters, after we were deprived of some features that can be attractive in the cinema, but I thank God that in the initial feedback, we realized that the story has traction.

In another part, a panel discussion of the movie “Master” was held with the presence of Ali Akbar Abdul Alizadeh. He said about this work: “Master” did not satisfy the audience of the media hall. In fact, he was weak in every area where he could have a strong point. We have professional audiences who expect a film that carries the names of Behrouz Afkhami and Mohammad Hossein Mahdovian, but “The Master” is not a significant first step for Seyedomad Hosseini, considering the short films we have seen from him, and does not bring him any seriousness.

In the other part of the program, Arash Fahim and Reza Montazeri, film critics, talked about the news and sidelines of the Fajr 41 festival.

Reza Montazeri pointed out that the 40th Fajr Film Festival should be international, not in words but in practice, and stated: My question is why foreign films should not be shown in Mellat Cinema Campus as a media house and why we Shouldn’t we have access to foreign movies?

Ebrahim Asghari, the producer of the movie “Number 10”, was another guest of “Cinema Critic” who said about his movie: “Our movie is a combination of documentary and real memories of some prisoners of holy defense, which has a dramatic story. I think that Iranian cinema needs a hero, but we tried to change the hero from the hero and finally turn the character into a hero.

He reminded: I believe that portraying true stories is attractive to the young generation; Especially the story of characters who have made more efforts than their peers. Perhaps one of the cultural problems of our society today is that we have explained the history and basically the characters in it less to the audience.

In the following, the film critic Mino Khani said about the movie “Number 10”: regardless of the fact that the form of the work was pleasant and exciting and leads the audience to the next sequence and knowing the end, it addressed one of the almost neglected aspects of the holy defense. Also, another head that must be addressed in order to complete the puzzle of our understanding of the holy defense, are Iranian prisoners in Iraq and Iraqi prisoners in Iran. In fact, the prisoners of both countries can narrate some of the events that happened to the people in this day and age.

The final part of the program was dedicated to Amirreza Mafi’s conversation with cinema researcher Akbar Naboi about genealogy in Iranian cinema.

Akbar Nabawi stated that cinema has gone through three periods and stated: In the beginning period, cinema is supposed to be redefined according to the conditions of the society in which there is a religious-Islamic revolution led by a religious authority. ; A cinema that the mass of the society had a very strict guard against, and if this redefinition did not happen, the life of cinema in the society might be damaged.

In the end, he noted: The second period is the repetition period, and I named the third period, which is considered to be from 2005 until now, wandering among the tastes of managers. It goes without saying that in all these three periods, tastes were in their place, but at one time this taste was applied in a way that might not have hurt.

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