Khoshkho: Hollywood never makes a fair film about Palestine
According to Fars News Agency’s Radio and Television reporter, the 30th episode of “Cinema Criticism” program aired last night on November 5th on Chahar TV channel, and in the “World Cinema Criticism Table” Arash Khushkho and Mohammad Reza Magdasian are movie critics from the documentary “Guardians of the Gate” and “Image”. They said Zionism in the world media.
Mohammad Reza Magdasian stated at the beginning: I had a serious problem to watch and access this work. In fact, a documentary that exposes secrets and those who were responsible for identifying Palestinian fighters and establishing security for the Zionist regime claim in this work that we have failed after all these years, it is clear that it should not be easily accessible.
They make a regime that doesn’t smell oppressed look oppressed
He continued: The atmosphere of the world media these days is really painful. The powerful media these days not only have a different point of view but also change the reality. A structure and a regime that doesn’t smell of oppression makes it look oppressed. At the end of this documentary, there are some topics that make it interesting and suggestive; Where a group of senior managers of this regime say that we may be able to attack and occupy Gaza and various cities, and in terms of appearance, we may win, but we have actually failed.
This critic reminded: In the same documentary, it is mentioned that if we have to become radical, it is because of religious fanatics who do not want to open this knot. This internal criticism of the occupation regime of Jerusalem, which is raised in the film, is very similar to the words of the elders of our country about the fact that this regime cannot last.
Arash Khoshkho continued: I was shocked by this approach of the western media. I have been working as a journalist and press for more than thirty years; But I never imagined that there was a think tank and thought of it more as an approach. But in the case of Gaza, for the first time, I doubted that some people deny the case, which is strange. This alone shows the importance of Gaza in Europe and America.
This critic continued: This film can have a dual approach; The fact that the National Security Organization of the Zionist regime is strong and scary, or maybe the filmmaker’s conscience was important to him. The film, with all its ups and downs, is a useful work; Although it is not complete and accurate, it is made with the usual techniques.
It is as if Zionist children are children
Magdasian emphasized: During the war between Ukraine and Russia, a reporter said that this is not a place where war will happen; It is as if there people are more human and the truth is more righteous. These days, by following the news, we come to the conclusion that even the meaning of the numbers have changed. The media games announce the statistics as if the Zionist children are more children and they are indifferent to this amount of killing of the oppressed children of Gaza.
This critic noted: There is an interesting look in this documentary. In the end, he says that the more violence we show, the more likely we are to endanger our stability. The film says that the commanders were victims of the structure and that after retirement they unknowingly turned into leftist forces and critics of the system.
The portrait of kindness and hard-heartedness, the face they made of Israel
Khushkho emphasized: “All these years, there has been a popular reading in Hollywood that Mossad is a scary, ruthless and inviolable group.” At the same time, this approach shows the leaders of this regime as spiritual. In fact, the portrait of kindness and hard-heartedness became the face they made of Israel. 70-80% of Hollywood filmmakers are Jews, and if they are not supporters of the Zionist regime, the idea that they are Jews exists in their thinking, and we should not expect them to make a fair film about Palestine.
Amir Mafi said: The Zionist regime knows that it is on the way to collapse. The internal conditions of the Zionist regime in the last year, numerous demonstrations against the regime’s cabinet and the sudden and complex operations of Hamas changed the game. They are flawed in the narrative of this game. Regardless of the external and internal end of this war, the Americans quickly start making movies. Maybe even now they are making a movie about it. The film they are making is definitely from the perspective of the oppression of the Zionists and they are hiding their crimes.
Magdasian said at the end of this discussion: It is definitely our duty to make films about such issues. They easily denied the attack on the hospital on the same day and the task is clear.
Iranian cinema review desk
Another part of the program was dedicated to “Criticism of Iranian Cinema”, which director Afshin Sadeghi and critic Afshin Aliar said about the movie “Working Bee”.
Afshin Sadeghi stated at the beginning: This work was made in 2018, but due to Corona and then the change of government and political adventures, the film was not screened. When the movie was released, it was doing well, but the fact is that people prefer comedy movies more. Maybe if it was released in 2018, the situation of the movie would be better than it is now.
Afshin Aliyar stated: At this time, when crime dramas are rarely discussed, the release of films like Zanbur Kargar is really enjoyable. The theme of the film is about revenge and it tells about the working class. Why this type of movies have a low audience and their sales is low, requires pathology. The works that are made about social harms, face a big problem that they only outline the issue. Cinema in this genre needs to diagnose. In fact, it can be said that these works are more journalistic than cinematic. In this model, genre pathology is the duty of cinema.
Next, Sadeghi stated: It is not possible to lay down a general rule for the pathology of cinema. My main point in “The Worker Bee” is that you cannot ignore God’s retribution. All the people in the film were retaliated. Another point is that you should forgive, and I wanted to remind people of these two points.
Aliyar recalled: This work has avoided the black image that exists in Iranian cinema for this genre, but I encountered a confusion in the text and then the director, which in some parts could not even be accepted. Before making the movie, we need to know if the script has the potential to advance two stories in parallel or if it will cause the audience to wander. I must say that the cinematography is extremely good at some points.
Sadeghi said in the end: Yes. The film has jumps in some places and now when I look at the work, I realize that we had a lot of stories and we are to blame for this. My view was a post-modern narrative, that the film should not be linear and move in a circle with four stories. The first version of the film was 120 minutes, but what was released was almost 90 minutes. 10-12 minutes of the film were edited by ourselves.
The mainstream of cinema and the Palestinian issue
In the continuation of “Cinema Criticism”, a special discussion table was held on the topic of “Dominant flow of cinema and the Palestinian issue” with the presence of Amir Ahwarki (critic and author) and discussed the use of religious researchers in cinematic works and the image of Zionism in Hollywood.
First, he said: It should be seen what the Islamic Republic has done for Zionism and the introduction of religions and prophets, as one of the Shia countries in the world, because describing Islam as a religion is much more interesting than the way of the Torah. For example, in the Old Testament (Torah), all the prophets have accumulated sins. When Hazrat Amir came to power, some Jews who had converted to Islam became city preachers and published Torah rules. In this regard, Hazrat Amir said that anyone should bring up the story of Uriya’s slander against Hazrat Dawood; I will limit him. Hazrat Ali’s defense against Hazrat Dawood is more than his own generation. Therefore, this religion that accepts Christianity and Judaism and supports them like a father, can have a correct introduction of the prophets.
He continued: Also, the Qur’an gives us new information about the lives of the prophets that they do not have. The series that the West makes of the lives of the prophets are incomplete. Because they do not have Quranic information. There is no researcher of religions in Iranian serials; Because the Torah and the Bible are not used in the way they should be and they only go to the Qur’an. The scientific field has nothing to do with the Torah and leaves it aside because it considers it distorted. But besides that, the university courses of religions accept the Torah and the Bible due to its connections with other universities of the world; So here we come to a contradiction. This zero and hundred is wrong. The solution is moderation. The right path is to use the Torah and the Bible after mastering the Qur’an and Islamic hadiths.
Ahwarki stated: “Ibrahim Khalilullah” series, which was made in 1983, did not have a scholar of religions. The movie “Malek Suleiman” doesn’t have a scholar of religions either, and it is the most controversial movie ever made. Because more than 90% of the film has no imagination or external existence, my detailed review of this film was published at the time of its release under the name “Malek Kedem Sulaiman”.
In another part of his speech, pointing out that Hollywood propagates the Zionist way, he said: The Zionist himself knows that he should not return to Palestine because God says in the Torah: You must be scattered in the world, and it is even emphasized that you must be humiliated. Christianity, especially Protestants, has no problem with Zionism. They may even disagree with Judaism, but they accept the Zionist presence in Palestine. Zionist Christians know that Israel is not right, but they give them the right to fight and kill so that their savior, who is Christ, will appear.
At the end, Ahwarki noted: Simple films like “Straight Story” are symbolic films that promote Zionism. Even the animations “Marghdani” and “Ugly Duckling” have a Zionist story. Through semiotics, it can be seen that in many works and animations of Hollywood, it is made in Zionist propaganda. It goes without saying that every Jew who works in Hollywood must pay his religion to Zionism. Of course, after the story of these days, Hollywood has to go towards the comprehensive purification of this regime.
end of message/