Personally, ten years ago, I did not imagine such a future for myself, and I attribute part of this failure to the policies of the cinema organization, which lead people like me to emigrate, become depressed, change jobs, and even commit suicide.
Charso Press: Pooya Nabi, a young writer and filmmaker who also has a history of working in the field of cinema and press criticism, about the state of Iranian cinema these days. He said: In my opinion, Iranian cinema is under pressure from three sides, and a calculated thinking and analysis must be thought out to get out of these super-crises. Toman has reached, while that film must have more than three times the sales in the release to return its initial capital, the second is the restrictions that have occurred for non-comedy films in the field of social drama and almost the production of such works that The representative of the thoughtful and international cinema has brought us to zero in the last year, and on the third side is the reception of pseudo-comedy works, and this factor makes Iranian cinema empty of the variety of genres and trapped in a one-dimensional format. Add these to the living conditions of the society, and you will realize that Iranian cinema is placed in a very complex mise-en-scène, so that a similar example is rarely seen in history. you do.
He said about the situation of young filmmakers in this situation: In one word, I can say that the professional and financial situation is awful! Many airways have been closed to make a compact movie, many of my colleagues have changed jobs, and a deep frustration has formed among young filmmakers who do not imagine any future for themselves. In recent months, we have seen the conversations of some of these filmmakers about how they spend their time.
Nabi emphasized about his own filmmaking conditions and the path he took: I was very frankly almost disappointed with feature filmmaking, and there is not a day that goes by that I don’t ask myself why I came to this profession. I went through all the steps of entering professional filmmaking step by step and I have about thirteen years of professional experience in this field, I produced and directed four fully professional short films that were present in more than sixty prestigious international and domestic festivals, the lesson of this I studied the work, I have a history of journalism for many years, I have a history of trade union activities, I have a history of assisting in several feature films, I have a history of writing movie scripts for others, and I also have a history of teaching this field. However, why should I reach a stage where I say to myself a hundred times a day, I made a mistake in entering this profession?! I got permission from both this government and the previous government to direct the first film with very high scores, and right now I have some very good and cheap scripts that I would love to make, but the situation is a total disaster for people like me.
In the end, this young director said about the cultural management of Iranian cinema: A few weeks ago, I saw an interview with Mr. Mohammad Khazaei, who claimed to have provided the conditions for young filmmakers who have been seen in this cinema, and there is no news from the filmmaker/investor. , there are no Instagram horns and so on, and the Farabi Cinema Foundation is supposed to support filmmakers who have been approved, on my word with Mr. Khazaei, Il Begi, Zain al-Abidin, and Azarpandar, who are the senior directors of the cinema organization, people like me who have studied this They read the work, assisted, made successful short films, have many years of experience in this cinema and left the best moments of their lives to this cinema. What exactly should they do to make only one film? Should we be removed from this cinema because we are not from the margins and controversy?
Nabi continued: In 1390, when Mr. Khazaei was the secretary of Fajr Festival, I published the daily bulletin of the same festival. I think a serious decision should be made about people like me, if they really don’t want us to work, they should declare it openly. I have a question for these friends, why should people like Mustafa Ahmadi, Ehsan Biglari, Ali Malaqlipour, Hamidreza Ghorbani, Mohammad Hamzaei and Anahid Abad, who have worked hard in this cinema for years, not work in front of a series of talentless and undocumented people? In recent years, we have seen a filmmaker who made two films with the funds of the Farabi Cinema Foundation, which have not been released for a single day, and the same filmmaker is now in the pre-production of his third film! Personally, ten years ago, I did not imagine such a future for myself, and I attribute part of this failure to the policies of the cinema organization, which lead people like me to emigrate, become depressed, change jobs, and even commit suicide.