“Mom’s Guest” is a completely indigenous film

According to Fars news agency, in accordance with the 5th short film studies conference in Tehran, a special session “Indigenization of genre in short film” was organized by the Iranian Youth Cinema Association and in cooperation with Sourah University, the Cinema Scientific Association and the Film Center of this university, and with the presence of Hadi Moghadamdoost. became.

Cinema and TV director Moghadam Doost said at the beginning and as an introduction to his speech: It is pleasant and meaningful for me that you have welcomed this issue. In order to move forward in this discussion, it is necessary to talk a little about the film genre and genres. We need to see what are the commonalities between short film and feature film or series and…

The director of the films “Ataralod” and “Sarbeh Mehr” continued: My effort in this discussion that we will have with each other is to address the commonalities that exist in the film. How is it that a person in the Holy Defense movies is a Baathist but speaks Farsi? Because with this language, you understand that this person is like me (that is, he speaks Farsi like me). If the movie is Turkish, Larry, etc., and the language of the party is for that region and he speaks Persian on the phone at once, they will introduce us more to the life of that region, how people speak when they are in their home environment and when they want to talk outside their home environment. Let them speak Farsi, how are they?

Referring to the role of language in movies for localization, he said: You can learn the language from movies, but if we want to repeat them and say that these are the rules of the genre, in the end we have only made the same of them; But the occurrence of localization on the audience who feels strange, for example, suppose some went to make a western movie in their own neighborhood! Well, everyone laughed because he didn’t answer. Therefore, there is no other way to get an answer other than localization; That is, the filmmaker gets the answer where he happens to be native. Being native requires a series of contracts with yourself. Native is what leads to identification. I think another interpretation that can be used for the word native is familiar; For example, Western is familiar to some nations, that is, it is ours. Native means something is ours, do you think it is native comedy? It is known that it exists because it has no owner at all. Comedy means laughing, epic belongs to everyone, horror belongs to everyone and…

This cinematographer stated that movie genres that do not belong to a particular nation or region by identity or geography are for all countries, and we stand there at the native point: this is our common definition of a native genre, now you, as a screenwriter, want to choose a texture for your film. Choose a visual system, a visual texture; For example, suppose a texture comes from comic movies; Where does texture come from? Is it borrowed or is it ours? This is where the worries start and it’s true that we understand that comedy, fantasy, etc. are for everyone. In the “Once upon a time” series, there were places in the movie where the characters were fixed, I thought it was taken from the picture of the anthropology museum, it evoked it for me; This question was created for me, where did that language come from in such a movie?

He said: Localization has an avoidance and a care, we must know where to get its components from. We have to ask ourselves where the texture we choose comes from. Here we have to be careful about where this inspiration and impression comes from.

Moghadam Dost described the lack of nativeism as a kind of strangeness and said: Actually, not acting natively means strangeness, it means a windshield in front of you and you watch the movie, but you can’t move forward and it doesn’t move forward from one place and we are strangers to it. The necessity of localization is even related to our professional interests, that is, our interests are to make a film that hits the target and has the right impact, and this requires the localization of the film. But if we make a movie that is strange with it, then the work will not go forward. The necessity of localizing means that the audience is not a stranger to the film, that is, if we want the audience to connect with our film, we must make a local film, and we start from the same place as it is for everyone.

In the next part of his speech, entering into the discussion of short films, he said: In the short films of some directors, we see that after producing a good film, they produce several short films even on the same subject. It’s our anxieties that keep us from changing genres. Not approaching the work that is native or ours, means our reaction to that subject that we love so much and we say we don’t dare to work on it. This is the result of anxiety. Not being native is a product of anxiety. This is where the problem begins. Do not worry; To make a native film, think about what the rest of the world is going to see. For example, you watch a Korean film, but don’t you understand that the film was produced in the biome of that region? Be sure that if you make a film from your location and environment, others will understand it. The thing is, when you understand different situations, then others also understand the situations you create. If you are worried about making a work that is born of your thinking or create an original work, I call this concern of yours a native work; Your heart does not want to connect a series of things without meaning; Now you are worried that if you create a native work, the audience will not understand?!

The author of the “White Status” series went on to say: I use two terms: everyone’s and my own; If the main elements are something that everyone understands, it belongs to everyone, then it becomes international, meaning something that belongs to everyone. So everyone is native, including myself. For example, concepts such as love, I say this frankly, you want to say I love love in your movie and make the audience come out of the theater to reconcile with whoever is angry, you want to make a movie so that people can reconcile. Do you think that if you make a film from this point of view, the audience of another country will not understand this film? How this issue is depicted in your native form, I must say that it starts from your choices in the core of writing. The thing is, if you’re a writer, you find character and setting. For example, have you seen the movie “Cloud Children”? Two boys fight with each other over the ownership of the same things in school; Their discussion is ownership; I want to say that common feelings are one of the story materials. Make no mistake, being native does not mean that everything belongs to you alone, but native can also belong to everyone.

In the end, he said: You can also act on global commons; Universal content is for you as it is for everyone, so it is native. That is, when one has something for everyone, it is indigenous. Human commonality forms the core of many films. What happens between people is more important than whether those people are eating at the table or on the floor; Little by little, you get to know your canvas with the cores that are both yours and everyone’s, after that you find your native mise-en-scène and your direction goes towards native direction; For example, the movie “Mother’s Guest” is a completely indigenous movie.

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