The Farabi Foundation has lost its position / Cinema needs time to change

According to Fars News Agency’s cinema correspondent, Mehdi Sajjadehchi, screenwriter and head of the Cinema House Screenwriters Association, said about the Farabi Cinema Foundation’s five-year transformation plan and vision document: “The plan proposed by the Farabi Cinema Foundation is a very attractive plan.” It is a project that can be promising to do a great job for the cinema.

He continued: “But there is a point that needs to be considered.” This plan can be just as dangerous for our cinema as it can transform our cinema institutionally and infrastructurally.

Explaining this point, the screenwriter stated: If any of these transformational clauses, which are considered as interconnected and interconnected loops, are not created correctly, and this chain, which should take an integrated form, becomes a discrete loop, success. What the Farabi Cinema Foundation wants will not happen and the changes will not be significant.

Sajjadehchi emphasized that each of these circles, which are the different clauses of the transformation plan, should be done with special care: to prevent the defective movement of each circle and to The fruit of sitting There are new definitions of how Farabi works. Entrusting these tasks to currents and skilled and experienced people. We want these straps to be connected like a mechanism so that in the end we get good cinematic productions.

The head of the Screenwriters’ Association of the Cinema House said: “Farabi’s recent action is somewhat similar to the development in cinema, which is taken from both intellectual, structural and artistic fields.” In a film project, if there is no coordination and each section does not do its job properly, that work will not be completed. The same thing happens with the Farabi Foundation’s transformation plan. Coordination between the executives of each part of this project is very important and if this coordination is not done, it will not be useful.

He said: “The designers and executors of this transformation document should consider certain time periods to understand the progress of this document to determine whether this organization is on the right track or not?” Of course, this does not necessarily have to happen with statistics. There is no basis for how many screenplays and plans have been written, or how many films have been made and distributed around the world. This development must manifest itself in the practical aspects of cinema.

* Cinema needs time to change

Sajjadehchi said: “I am optimistic about this plan, but cinema is basically a complex category and it takes a long time to change.” This plan should make a significant difference in the course of Iranian cinema over time and in practice, so that we can understand that Farabi’s new structure has worked.

He stated: The new plan of the Farabi Cinema Foundation seems to be a combination of realism and idealism towards cinema. That is to say, he has considered many issues of cinema today and pays some attention to what we want to happen. It does not matter whether we agree or disagree with this new Farabi structure. It is important that this plan can work for cinema and make a difference in practice.

The author of “The Third Day” said: “Farabi had lost his main features during the last thirty years and was no longer inspiring.” For a long time, Farabi became a film archive and a place for renting film logistics equipment, which lost its position with the beginning of digital procedures.

At the end of his speech, Sajjadehchi said: “Developments in Iranian cinema have gone in the direction that the Farabi Cinema Foundation considers it necessary to return to its exceptional position, and I can express hope that this event will give new blood to Iranian cinema.”

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