Jokerism and support for smuggling are not suitable for the CEO of Cinema House!

Fars News Agency, Cinema Group: Mrs. Broumand, your words about opposing the explicit text of the law in the field of film production in the country surprised everyone. As the director of the cinema house, you have a very heavy responsibility, and the law is an important and efficient tool in order to achieve your goals. Your stand against part of the speech of the head of the cinema organization, which was against illegal and smuggled cinema, was really surprising. You know very well that what has made our cinema survive and reach its current position is the compliance with the current laws of the country.

You are the creator of a series of memorable films that have remained in the minds of several generations of our audience. All those films were produced and screened under the banner of the law and with respect to it. No one can imagine this level of success for you and your good works outside the framework of established rules. Laws everywhere in the world, as much as they determine and define the frameworks and standards, protect it from the risk of possible harm. This is the least characteristic of the existence of law in society. The fact that you have an angle with a part of the cinematic equations, or do not reflect it, does not mean that you want to question the whole of it.

Mr. Khazaei’s speech at the meeting of the filmmakers of the revolution and the holy defense, which oversees the legal protection of cinema, was that some people want to produce a film without permission and legal channels and show it in festivals on the other side of the water, first of all, it harms the body and the family of cinema. . Abandoning the law is also for an important issue because film production distorts the pillars of common filmmaking in the country, which ultimately will be the main sufferer of that cinema in general and its family’s livelihood in particular.

To put it more clearly, you support a kind of filmmaking that is only produced in the country and broadcast and screened and related advertisements are in Maand festivals, which are sometimes famous for taking a stand against our country. The question that arises here and we would like you to answer it is that basically why shouldn’t a film be produced in an official and legal form and from its official and known sources?

What does the secret and underground production of a movie bring to the cinema house that you have the honor of chairing? Don’t you think that this kind of support and partiality to the production of underground and illegal films and showing them in the festival of warring countries will cause serious and irreparable damage to the production of official films and the cinema family?

All directors and filmmakers must obey the laws of the country and this issue is not hidden from anyone. Of course, the fact that some laws in the field of cinema need to be reviewed is one of the secondary issues that should be discussed. However, it is accepted by various groups that illegal and out-of-the-ordinary films should not be made in the country, so that the cinema as a whole is not shaken.

The cycle of filmmaking in our country, with all its problems, has this gift and feature that has served to promote and grow the livelihood of the cinema family and for the people of the country.

Instrumental use of the medium of cinema, promotion of foreign festivals and defining the needs of audiences other than Iranian audiences are the characteristics of all films that have been produced and screened without permission. There is no question that the continuation of this process makes it impossible for Iranian cinema to survive. Note that Iran’s cinema does not only have foreign enemies, but many inside are waiting to see its deviation and decay and use it as a pretext to strike. It is good that we do not pour water into the mill of enemies and ill-wishers of Iranian cinema by making crude, ambitious, unmeasured and unexpert opinions.

According to the testimony of many great cinematographers, most of the damage done to Iranian cinema was caused by the people of cinema themselves. One day, somewhere, this chain of hitting the cinema should be cut off. The right and principled way to achieve this goal is the law and following it. Real cinema will not be realized outside the circle of law. Film smuggling is indefensible, whether in the production stage or in the broadcast and screening stage, and you, who are sitting on the seat of a trade union today, should pay attention to this more than others.

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