The closing of Fajr Film Festival of Tears and Smiles

According to the film reporter of Fars news agency, Last night, at the closing of the 41st Fajr Film Festival, he could not hold back his excitement and shed tears. His tears were so meaningful that he no longer felt the need to continue his speech. He went and slowly sat in the first row. It can be said that he was the quietest person in the convention hall during the closing ceremony. From time to time, the camera showed his face and it was clear that he was still excited.

During the recent months, he endured a lot of pressure and Sibel was attacked by many attacks until last night when he registered his signature at the foot of the revolutionary art. By now, the audience has probably understood who I am talking about; “Mohammed Khazaei”, the head of the country’s cinema organization.

Now that the Fajr Film Festival has been held in the best possible way, in this report we will try to have a look at what “Mohammed Khazaei” has done during his responsibility in the cinema organization for the country’s art.

*Mohammed Khazaei’s film organization and performance

The country’s cinematographic organization has taken several major leaps and steps in parallel with the recent social unrest in October. This organization has managed to continue its qualitative and normal process even in the midst of the unrest and disturbances that have occurred, and by holding several important events, it has come out successful and proud from the challenges and crises.

1- Regardless of the executive issues and the quality of the implementation and holding of the festival, which is related to the director personally, it seems that the 41st festival, despite the social atmosphere of recent months, has faced standards that are a direct extract of the policies of the cinema organization.

One cannot ignore the person of Mohammad Khazaei, who is a successful and successful film producer, in this leap and standardization. Since his arrival in cinema management, he has stepped into this valley with the slogan of legalism, standardization and justice, and these frank positions have cost him many wounds and unkindness.

Although in the last one year, the cinema organization has gone through tough challenges such as: Laminor, the MeToo movement, put down your gun hashtag, the edges of the holy spider, the Cannes festival, and the recent unrest, but it has never hesitated in the path it has chosen. . Of course, in the meantime, we cannot ignore the unkindness, egotism, and mischief of some members of the cinema industry and cinematographers. At the same time, with a general analysis, compared to the stagnation and interruption in the business of other businesses and industries in the field of cinema, we see a more favorable atmosphere.

Two – the characteristics and indicators of the films produced in the last one year show that the cinema organization has been successful in establishing its horizon and important propositions in the field of production and distribution. Although some of the produced works still did not match the audience-oriented approach of the cinematographic organization, at the same time, the achievements in this field are proof of the formation of capacities that resulted from the propositions and approaches of the cinematographic organization.

– Paying attention to cultural justice by decentralizing from Tehran and transferring it to less productive and less developed provinces in the use of different capacities for the flourishing of talents.

– Providing the opportunity to participate in the festival and allocating facilities

– Paying special attention to the youth and creating opportunities for this generation in the direction of the emergence of new talents in the field of cinema

– Holding the festival in the geographical area of ​​Islamic Iran, beyond Tehran

– Diversity of different genres in this festival and moving away from the special atmosphere of drama and sometimes blackness

– Ethnic and linguistic diversity in the films of the 41st Fajr Music Festival

– Committed and compassionate look at social issues and harms

– Paying attention to the themes and forgotten heroes of the Islamic revolution and holy defense

– Paying attention to the important issues of contemporary life, such as new views on phenomena such as the faces of the hypocrites, the huge Arbaeen procession,

– Attention to the genre of children and teenagers

– The geographical scope of the movies and the center of Grizi

– Attention to the issues of children and teenagers

– Energetic and committed presence of young filmmakers towards social issues and people from different classes of society

– A hopeful look at life and drawing a bright future in most of the works

– Predominance of the spirit of self-sacrifice in the works of holy defense

– Thematic diversity in the works of sacred defense, from dealing with the role of women in war to commanders, people and prisoners

– Ending the vast majority of works using religious and moral teachings

– Providing a suitable solution to the topic in a significant number of films

– Paying special attention to human and moral traits in movies and taking care of the family

– Variety of genres in this year’s works due to the presence of films with different and diverse themes and structures, from the genre of sacred defense to semantic, social, criminal, mystery, historical, sports, etc.

– The variety of form and format of the work, such as professional to experimental cinema, animation

– Ethnic and geographical diversity in the works from the culture and geography of the center to the north, south, east and west and the languages ​​of Fars, Kurdish, Lor, Azeri, Baluch, Arab, etc.

– Diversity in the use of different and new and young filmmakers, that more than half of the works of the festival are the result of trusting young and novice filmmakers.

– The presence of three generations of Iranian cinematographers, from the first generation of filmmaking to the new generation

– The complete and colorful basket of this year’s festival due to the thematic, structural and significant diversity of the works

The country’s cinema organization and the person of the head of the cinema organization have endured a lot of pressure and unkindness in the last one year. It may be possible to clearly declare that the field of culture and cinema has never been under the extratextual pressures of cinema. Most of these attacks and pressures that have political and non-cultural demands are included. But the painful part of the story has been the selfishness and extravagance of some cinematographers and a handful of people, who either because of political interests or because of the removal of previous positions, have saved money for the cinema and its management.

However, Mohammad Khazaei was able to properly manage crises and overcome all of them. In addition, the field of cinema in the 13th government has moved more flourishing and stream-forming in the path and channel of the discourse of the revolution compared to other fields of culture and art, and we have witnessed some of these achievements in the Fajr showcase.

Today’s cinema organization has shined bright despite the recent unrest. The dignified holding of Mehr Cinema of Iran, Cinemaheqrit and Tehran short film festivals during this period has shown the courage and determination of the head of the cinema organization in the path of transformation in cinema management. And the 41st festival, despite all the domestic and international attacks, was held today with full glory, influence and satisfaction, and was warmly welcomed by the people and elites in Tehran and the provinces.

The mastermind of the Thirteenth government’s cinema organization, to whom all paths end and everyone knows that all decisions in the field of production, planning and structure and even the way of holding the festival is managed by him, succeeded in facing the Fajr El-Enghalab festival.

What is clear is that these days Khazai seems to be more tired than ever, a manager who came from cinema and from its heart, and during his management period, he was open to all cinema families and tastes in his room, with extensive pressures and demands from himself. And Ghirkhodi acted as a revolutionary and came out proud and was able to tolerate and manage all the turmoil against cinema.

end of message/