Where is the place of “charm” in today’s cinema?
Cinema critic Javad Tusi said in the short film hangout that the central point of my discussion in cinema is the element of charm. In this regard, too, the historical experiences of my generation immediately expose me to the booming era of free cinema.
Charso Press: The sixth session of the seventh season of the short film hangout was organized by the Iranian Youth Cinema Association on the evening of Monday, June 14, with the screening of 4 short films at the Charso Cinema Campus.
At this time, the short fiction films “Dante” directed by Amin Tabar, “Sefidpoosh” directed by Reza Fahimi, “Yamousseh” directed by Amir Massoud Salehi and the short animation “Pikereh” directed by Mohsen Salehifard were screened and after the screening with Javad Too The guests were reviewed.
Javad Tusi said at the beginning of his speech: The central point of my discussion in cinema is on the element of charm. In this regard, too, the historical experiences of my generation immediately expose me to the booming era of free cinema. I will try to create a transition for you as a young generation from then until today. Filmmakers such as Kianoosh Ayari, Nasser Gholamrezaei, Mehdi Sabbaghzadeh, Zavan Ghokasian, Ebrahim Haghighi, and Hassan Bani Hashemi, despite experiencing independent cinema in the late 1940s and 1950s, were able to achieve a style of experimental cinema in their experimental style. . Each of these filmmakers had a signature and identity card for themselves, and at the same time as personal experience, they always paid attention to the element of “charm”.
The film critic added: “Well-thought-out and young filmmakers today should take advantage of the opportunity and, while considering their personal experience, should not limit themselves to draining their ideas and assuming that my film is going to be exposed to a Broad audience should be included and its output should be for different spectrums of the affected area. What’s wrong with a short film in this regard? We have to start these events from these hangouts. Our society has lost the context of its cultural hangouts for various reasons, and in this situation you should have such demands.
Al-Tusi went on to say about Dante: “While the film tries to turn itself into a different experience without time and place, its main theme and theme disturbs some of our calculations.” The central character of the film finds a contrast and even reaches a state of deformation. Deformability that can give the character more meaning.
Al-Tusi went on to cite the Coen brothers’ cinema as a successful example of “black comedy.”
In the next part, it was the turn of the film “White Dress” directed by Reza Fahimi, about which Tusi explained in the absence of this filmmaker: It is inferred that this film is influenced by the cinema of Abbas Kiarostami or some of the works of Ebrahim Forouzeh. This impression is not a bad thing either, but the point I need to emphasize about this film is the need to pay more attention to the acting. The requirement of this kind of realism in cinema is to work properly with non-actors. In this film, however, we see that the main characters are not very comfortable in dialect and verbal idioms, and this has damaged the film.
Tusi went on to describe filming, music, and cinematic endings as the advantages of “White-clad.”
Javad Tusi also said about the short film “Yamousseh”: “Even if I want to make an art film for my audience, I have to provide the element of” charm “in it. A good feature of “Yamousseh” is that it wants to tell a story. Our cinema still desperately needs a story and a hero. When you go to a narrative cinema, the task must be clear from the beginning. The director of “Yamousa”, however, seems to be breaking the habit. Story-based cinema must have a direct expression and performance.
The short animation “Sculpture” directed by Mohsen Salehifar was also the last work reviewed in this hangout. Javad Tusi said in this section: When I saw the “figure”, I subconsciously remembered one of the early works of Massoud Jafari Jozani, who had a very good idea during the early days of the revolution. At that time, Jozani tried to experience this kind of animation with Rumi’s stories, and he happened to be successful. The film “Figure” also tries to start with a verse and reach an interpretable expression, but the question is whether in this short animation, the audience is connected with this interpretability or the work is trapped in its abstract world. ?
The final part of the meeting was dedicated to the questions and answers of the audience in the hall with the filmmakers and guest critics of the hangout.