“Shadruvan” director’s thirst to receive Simorgh / Concern for “Alfzar” – Mehr News Agency | Iran and world’s news
According to the Mehr news agency, quoting the program’s public relations, “Cinemamelt” is the only live program of the Fajr Film Festival these days on television, which is broadcast every night during the festival at 11 pm on the Chahar Sima network.
Wednesday night, coinciding with the end of the third day of the 40th Fajr Film Festival, the program went on the air with various items, including 3 “happenings” directed, critics and news.
“Etefaq Chalmorgh” is a satirical item with the presence and performance of Reza Ehsanpour in the conference hall of Milad Tower or the house of the 40th Fajr Film Festival. “Breshino” is another comic item that deals with the themes and margins of Iranian cinema and the Fajr Festival in a different way by sounding on parts of cinematic works.
Milad Najafi, the first guest journalist of the program, covered the news of the third day and the fringes of this day and talked about the special guests of the 40th Fajr Film Festival, the protest of news photographers about the press conference and the cancellation of Masoud Kimiaei from the Fajr Film Festival.
The thirst of the director of “Shadruvan” to receive Simorgh at the Fajr Film Festival
The “directing” event was the second item of “CinemaMalet” hosted by the late director Hossein Namazi and researcher and university professor Meysam Mahdiar.
Hossein Namazi, in response to the question of what points should the jury pay attention to in order to be able to fulfill the right of the late ?, said: I have realized that in the current situation of the society, I should not make a bitter film To be bitter, I have to do it in a sweet atmosphere. I tried to create a rhythm in my work that did not fall. In my opinion, acting is the most important job of a director, and I do not leave this responsibility to anyone.
In response to the question why he insists that his film is not humor and comedy ?, he said: Comedy is a genre that has its own characteristics. Such a film is made with the aim of making its audience laugh and has a comedic ending. My film is not a comedy because although its ending is sweet, it is not a comedy and it is not made with the aim of making the audience laugh. On the other hand, which comedy film do you know that has been well received by the judges of the Fajr Film Festival? The Fajr Film Festival has become very important to me because the fate of many filmmakers and prestigious films depends on the success of this festival. I have seen many films that were not at the Fajr Film Festival and were destroyed, that is, they were not even screened. The film that will win an award at the Fajr Film Festival will be streamed. This is where the responsibility of the judges of the festival becomes difficult. With their choices, they line the country’s cinema.
Namazi criticizes and worries about the way SAMFA votes for its film audience
Namazi stated: The fact is that something happened in recent days that worried me. This year, the method of voting for the best film from the people’s point of view has been left to SAMFA. In recent days, several people have said that although they have purchased tickets to watch my film in cinemas across the city and have seen my work, they have not received the voting SMS. I ask my active friends in SAMFA to follow up on this issue. The award for best film is very important to me from the people’s point of view. A film that people know well will be well received at the time of its release. Maybe the Fajr Film Festival should not be so important, but it has become important. Of course, the awards of this festival are not so important. The impact of receiving them on the work of filmmakers and other filmmakers is important.
Poverty has no sanctity
Regarding the criticism of “Shadruvan”, he said: “Some people said that your film is about sanctifying poverty.” In my opinion, poverty has no sanctity, but when we constantly make films about a social class of people and tell them in that film that they live in bad conditions, that social class feels that they have reached the bottom line. The question here is, where is the hope in cinema? My film is a kind of joke about poverty and death. It is always said that the bitter part of life is death, but how do we know? Who has experienced death and knows that the bitter part of life is death? I have a lot of fantasies and I am a joker.
Namazi added about his previous films “Appendix” and “Shadruvan”: “Each of these films has been made in different genres.” Shadruvan is the opposite of Appendix. I was away from the cinema for 5 years and the film Shadrovan filled this 5 year gap for me. I always wanted to make a trilogy with a cheat theme. The films Appendix and Shadruvan were made in this direction. I now have a story in my hand that if I could make it, the trilogy I wanted would be complete.
The film Shadruvan tries to highlight social relations
Meysam Mahdiar also continued: The late had a good background. We usually have bipolar social cinema. In the last two decades, the view of rich and poor competition and class conflict has been highlighted in our social cinema, and the pole that tries to show the internal relations of social classes has been less seen. These two poles must be located next to each other. The generalization of the political to the social has prevailed in our cinema. The film Shadrovan has tried to highlight social relations to some extent, and this is the difference between it and other films made in its genre. In general, the work of the humanities and social sciences is to give meaning. Every day we can look at people’s social relationships from a new angle and find something new in them.
He added: “Some filmmakers show in their works that there is a gap between the people of our country and the citizens of Afghanistan.” This is despite the fact that our people were good hosts in many places and did not see any distance between themselves and an Afghan citizen. The film Shadrovan has shown this well.
Namazi said: “My parents were very fond of people who were Afghan citizens.” I grew up in such a family. I also had a complete knowledge of the marginalized, and if I did not have such an understanding of the Afghan nationals and the marginalized, I would not have made the film Shadruvan.
Mahdiar said: “We have always emphasized that films should show more realistic images of our society.” Shadruvan is a good film, but I expected it to take full advantage of the comparative field of art because I know the field of art has been somewhat supportive of Shadruvan’s film.
In the end, Namazi, in response to the question why he used the abilities of people like Behrang Alavi and Saed Soheili in his work, said: “Many people said that this would not achieve the desired result because Alavi and Soheili are suitable to play in my work.” They were not, but what good is a director who does not take risks?
Nematullah Saeedi worried about the boycott of “Alfzar”
Cinema critics Saeed Ghotbizadeh and Nematullah Saeedi were the guests of the third part of “Cinema Malt”. In this section, they criticized the movie “Grassland” directed by Kazem Daneshi and produced by Bahram Radan.
Saeed Ghotbizadeh said: “In general, I feel that the meadow, directed by Kazem Daneshi, has a series of textual features and a series of hypertextual features.” I have noticed that the plot of acute social issues in movies is a sign of the prosperity of society. Today, trade unions are less sensitive to films, but institutions within the system are still sensitive to these cultural works.
Nematullah Saeedi also said: I have not come to the Fajr Film Festival intentionally for 8.9 years because I did not see the films I wanted in this festival. This rule was broken by watching the movie Grassland. The subject of our discussion is not the threshold of the regime’s tolerance for a cultural film. We have noble artists in our country whose statistical community is no different from the children of the police and so on.
He emphasized: The knowledge meadow portrayed a part of my thoughts. The film talks about women and family rights. The main axes of this discourse are the need for chastity and purity, the need to maintain a minimum number of children in order to continue the generation, the need for minimum respect for women’s rights and maximum sexual pleasure for the maximum number of people in the maximum conditions. The film Shadrovan has shown all these principles.
Ghotbizadeh stated: “Grassland” is a bold film and it has some margins.
Nematullah Saeedi replied: In my opinion, the margins of the movie “Grassland” are not really margins.
Ghotbizadeh said: “My problem with the films of some of the directors of the first film is that they are not deficient, they are accumulating.” The filmmaker who is making his first film wants to put his 10-year-old thoughts and ideas into one film. “Meadow” can not stand several parallel stories and many characters. On the other hand, the exact transfer of reality to the film is different from being inspired by a reality.
The film critic said: “My problem with the meadow is that it is not clear what the three children depicted in this film will pass on to the future.” The child is a picture of the future, and I have rarely seen a film that has no trace of hope. This film shows a shocking picture of reality, society and the future.
Saeedi continued: “My only concern is the boycott of the movie” Grassland “. The atmosphere of the story of this film is the prosecutor’s office and its main character is the inspector of the judiciary. Anyone who has a problem goes to court. I see a hero in the movie “Meadow” who will fulfill the rights of others even if he is fired. A hero must pay, and a hero who does not pay is not a hero.