In conditions of neglect of the “cinema organization”; Will “Leila Brothers” be shown to the public in “Kan” without obtaining a “show license”?

Fars News Agency – Art Group: The list of films selected for the Cannes Film Festival 2022 was published on April 16th, during which Saeed Roustaei ‘s “Leila Brothers” will be screened in its competitive section. The film has entered the seventy-fifth Cannes Film Festival in a situation where; Not a single synopsis of it has been published in any language, not a word has been said about what it’s about.

Even the officials of the cinema organization of the Ministry of Guidance have not seen a frame of it. The investor of the film is also unknown. It is only alleged that Wild Bunch AG distributes the film.

The French company “Wild Banch”, which is in charge of the international distribution of Saeed Roustaie’s new film “Leila Brothers”, released the first official image of the film at the same time as announcing its presence at the Cannes Film Festival.

This caused the cyberspace to be filled with news of a movie that has almost no information other than its name. Posters of the main actors were published in the form of drops, along with a few words, such as “Brother Leila”.

From the very beginning of the introduction of this film, fundamental questions about it have been raised in various media.

First, is the “Leila Brothers” the official representative of Iran in Cannes 75?

Why does no one know anything about the investor of Saeed Roustaei in “Leila Brothers”? There is no summary of the story, no information about which person or company has invested in this work, and not even a detailed information about the mechanism by which the rural film was introduced to the Cannes Film Festival.

Is the investor basically Iranian or are they just the agents of the Iranian film and is it a foreign film, like some of Asghar Farhadi’s works, such as “The Salesman”, which was the first French representative at the Hobbit Festival in India?

Naturally, this film has been licensed by the Ministry of Guidance of Iran, but does it also have a screening license?

These questions are quoted by Cinema Press. In this regard, the French media wrote that this film was presented in Cannes without censorship seconds, but the question is whether it was basically monitored and audited in a special way, which was not filtered or not? Can this film be shown in Iran without any audit seconds after Cannes? Many may see this sheer silence as Saeed Roustaie’s attempt to escape the margins, but a film that is marginalized by the release of its synopsis and the determination of who invested in it reinforces the notion that things are more than aesthetic criteria. Another has opened an account to be seen.

According to the same source, in the booming period of Iranian film festivals, when there were fewer margins, the rule was that films were not shown in foreign festivals before being shown in the Fajr interior. Films at that time were taken to foreign festivals by the Iranian government and the Ministry of Guidance, and it was not the case that the director and his own producers would directly attend these events. Saeed Roustaei’s film has not yet been licensed for domestic screening, and basically no one from the Ministry of Guidance has seen it.

Saeed Roustaie shared a photo of himself with Saeed Poursamimi, a veteran Iranian film actor who starred in “Leila Brothers,” and announced his intention to screen the film after attending the Cannes Film Festival.

In the final analysis, some media outlets have raised the question that if this film was shown in Cannes and then it seemed that it was not suitable for screening in Iran or parts of it had to be corrected, what would be the consequences in the Iranian media environment? This case also causes the news and analysis authority to be taken from the Iranian media and handed over to the Westerners.

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