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whileiamdying · 2 years

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No Bears review – Jafar Panahi’s piercingly self-aware study of film-making and fear

‘A profoundly humane endeavour’: Jafar Panahi behind the wheel in No Bears.

The Iranian director, who was imprisoned in July, crafts a complex meditation on artistic creativity and invisible borders

Mark Kermode, Observer film critic @KermodeMovie Sun 13 Nov 2022 | 03.00 EST

Earlier this year, the Iranian auteur Jafar Panahi was detained and ordered to serve a six-year prison sentence – the latest politically motivated attempt to silence an artist who has been banned from making movies since 2010. Despite the ban, Panahi has remained a creative thorn in the side of the Iranian authorities. His provocatively entitled This Is Not a Movie (2011) was smuggled out of Iran on a USB drive hidden inside a cake and premiered to great acclaim at Cannes. His next two features, Closed Curtain (2013) and Taxi Tehran (2015), earned him a Silver and Golden Bear respectively at the Berlin film festival, while 3 Faces (2018) won best screenplay at Cannes.

This latest stripped-down work from the world’s most quietly defiant cineaste has already (deservedly) picked up the special jury prize at Venice and the award for cinematic bravery at the Chicago international film festival. Meanwhile, in Miami, where the director was given the film festival’s Precious Gem award, an audio message recorded in prison found Panahi wryly declaring: “I wish that I could make films instead of receiving awards” because “I have dreams that go beyond all the awards in the world.” And what dreams they are!

Given the circumstances of its creation, it’s no surprise that Panahi’s recent output has returned obsessively and self-reflexively to the subject of film-making itself. Here, for example, he once again plays a version of himself – a film-maker directing his latest feature by remote control. His new movie is being shot in Turkey and presents a close-to-life account of a couple, Zara (Mina Kavani) and Bakhtiar (Bakhtiar Panjei), who are facing separation as they attempt to escape to a new life in Europe. Panahi, who cannot leave Iran, is directing them over the web, via a computer screen. But rather than doing so from Tehran, where he had a half-decent internet connection, he has instead rented a room in a remote village near the border, placing him physically closer to the action, but also conjuring a creative barrier as his phone signal constantly drops in and out in almost slapstick fashion.

"Panahi retains the wit and humility to question his art with remarkable candour and self-deprecation."

When assistant director Reza (Reza Heydari) visits Panahi, the pair take a surreally tinged night trip to the Turkish border (a haunting no man’s land peopled by smugglers in speeding vehicles), and he invites the film-maker to step across the invisible line that divides his country from its neighbour. But Panahi has become embroiled in his own domestic drama, his camera having inadvertently drawn him into a dispute (“there will be blood”) between two men, both of whom are attempting to claim the hand of a local girl. Meanwhile, the actors in Turkey are starting to doubt the integrity of their director, whose docudrama threatens to tear them apart in real life, creating two parallel love stories that eerily mirror and reflect each other’s sinister power struggles.

“What about the bears?” asks Panahi as he takes an evening walk to the outskirts of the village, en route to a meeting where he must answer the charge of having taken an incriminating photograph – a photograph he insists does not exist. “There are no bears,” replies his companion, who has previously assured this metropolitan incomer that while “town people have problems with authorities, we have problems with superstition”. It’s all just “nonsense, stories made up to scare us. Our fears empower others. No bears!”

It’s a cute titular exchange that pithily encapsulates the key themes of the drama: the conflation of modern authority and archaic superstition, the town-country divide, the power of storytelling, the oppressiveness of fear and the absurdity of dogma. These are intimate personal scenarios with wider political resonances that reverberate throughout Panahi’s filmography.

Yet No Bears is also a piercingly self-aware portrait of an artist who is not afraid to depict himself and his craft as aloof or insular. Despite all that he has faced, Panahi retains the wit and humility to hold himself accountable – to question his art with remarkable candour and self-deprecation. Filtering his immense contribution to cinema through a deceptively incidental lens, he once again reminds us that movie-making can be a profoundly humane endeavour; at once comedic, tragic and truthful.

#Iran #Cinema #Iranian CInema #The Guardian #Mark Kermode #Review #No Bears #جعفر پناهی #Jafar Panahi #Berlinale #خرس نیست #Reza Heydari #Bakhtiar Panjei #Mina Kavani #مینا خسروانی

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skleftist · 2 years

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Liste der Menschen, die bei den Protesten im Iran seit 16. September 2022 getötet wurden (bis 6.11):

6.11.

Mohammad Ghaemi Far Asterki, Dezful

Oveis Shekarze’i, Sarbaz

5.11.

Nasrin Ghaderi, 35, Marivan

Mohammad Hossein Salari, Mahshahr

4.11. Massaker von Khash

Mohammad Shah Bakhsh

Yunus Shah Bakhsh

Shahli Bar

Sohn von Haj Khoda Murad Brahoi

Sadegh Brahui

Mohammad Amin Heshmatian

Ali Kurd Kalahori

Mobin Mirkazehi

Nima Nouri

Kambiz Regi

Rahim Dad Shahli

Sohn von Anwar Salahshuran

Mohammad Selahshuran

Abdul Malik Shahnawazi

Azim Mahmoud Zahi

Murad Zahi

Saeed Sohrab Zehi

Yasir Bahadur Zehi

3.11.

Shoaib Darghale, Chabahar

Mehdi Hazrati, Karaj

Mohammadreza Bali Lashak, Nowshahr

Prasto Mouradkhani, Karaj

Yaser Naroi, Zahedan

Mohammad Reza Sarvi, Shahr-e Rey

Mehran Shekari, Karaj

Irfan Zamani, Lahijan

2.11.

Momen Zand-Karimi, 18, Sanandaj

30.10.

Komar Daroftadeh, 16, Piranshahr

29.10.

Aref Gholampour, Zahedan

28.10.

Dastan Rasul Mohammad Agha, Baneh

Masoud Ahmadzadeh, Mahabad

Kabdani, 12, Zahedan

Adel Kochakzaei, Zahedan

Farid Koravand, Asaluyeh

Omid Narouie, Zahedan

Amir Shahnavazi, Zahedan

27.10.

Ermita Abbasi, 20, Karaj

Zaniar Abu Bakri, Mahabad

Fereshteh Ahmadi, 32, Mahabad

Keyvan Darvishi, 18, Sanandaj

Fereydon Faraji, Baneh

Shahou Khezri, Mahabad

Motalleb Saeed Peyro, Baneh

Kobra Sheikh Saqqa, Mahabad

Mehrshad Shahidi, 19, Arak

26.10.

Behnaz Afshari, Evin-Gefängnis Teheran

Afshin Asham, 28, Qasr-e Shirin

Hadi Haqshenas, Isfahan

Mohammad Lotfollahi, Sanandaj

Hamid Reza Malmir, Karaj

Ismail Muludi, 35, Mahabad

Sarina Saedi, 16, Sanandaj

Seyed Ali Seiedi, Teheran

Mohammad Shariati, Sanandaj

25.10.

Parisa Bahmani, Teheran

Parmis Hamnava, 14, Iranshahr

Ebrahim Mirzaei, 42, Sanandaj

24.10.

Sadaf Movahedi, 17, Teheran

23.10.

Ramin Fatehi, Sanandaj

Mona Naghib, 8, Saravan

22.10.

Abolfazl Bahu, Qaimshahr

Seyyed Mohammad Hosseini, Saqqez

Rahim Kalij, Qaimshahr

Poriya Kayani, Shushtar

Farid Maleki, Teheran

Arnica Kaem Maqami, 17, Teheran

Messam Moghadasi, Teheran

Sina Malayeri, Arak

Ezzatollah Shahbazi, Evin-Gefängnis Teheran

20.10.

Ali Jalili, Teheran

Ramin Karami, Kermanshah

19.10.

Ali Bani Asadi, 20, Ahvaz

17.10.

Mohammad Abdollahi, Ilam

Hamed Baji Zehi, Zahedan

16.10.

Hossein Akbarzadeh, Evin-Gefängnis Teheran

Atika Gaem Magham, 17, Teheran

15.10.

Hossein Jezi, Evin-Gefängnis Teheran

Seyyed Farhad Hosseini, Evin-Gefängnis Teheran

Hamid Saeed Mozafari, Evin-Gefängnis Teheran

13.10.

Parisa Asgari, Teheran

Reza Esmailzadeh, Teheran

12.10.

Kamal Fegghi, Bukan

Asra Panahi Jangah, 15, Ardabil

Aziz Moradi, Sanandaj

Sina Naderi, 22, Kermanshah

Armin Sayyadi, 18, Kermanshah

Mehrgan Zahmatkesh, Rasht

11.10.

Negin Abdolmaleki, 21, Hamedan

10.10.

Abolfazl Adinezadeh, Mashhad

Farzin Farrokhi, Saqqez

Omid Mahdavi, Teheran

Elaheh Sa’idi, Saqqez

9.10.

Nadia Arefani, Karaj

Arian Moridi, Salas-e Babajani

Esmail Dezvar, Saqqez

Seyyed Ahmad Shokrollahi, Isfahan

8.10.

Abolfazi Adinezadeh, 16, Maschhad

Daryoush Alizadeh, Sanandaj

Mohammad Amini, Sanandaj

Peyman Manbari, 29, Sanandaj

Mohsen Mousavi, 30, Teheran

Nagin Salehi, Teheran

Yahya Rahimi Sarab Shahraki, Sanandaj

Sopher Sharifi, Teheran

6.10.

Emad Heydari, 31, Ahvaz

Reza Bonyadi, Teheran

5.10.

Nima Shafagh Doust, 16, Urmia

3.10.

Mostafa Beriji, Zahedan

Arman Hassanzani, Zahedan

Mahmoud Hassanzani, Zahedan

Morteza Hassanzani, Zahedan

Zolfaghar Jan Hassanzani, Zahedan

Mohammad Mehrdadi, Teheran

2.10.

Jamal Abdol Naser Mohammad Hasani Barahui, Zahedan

Khodanur Lajai, Zahedan

Salman Maleki, 25, Zahedan

Saamer Hashemzehie, Zahedan

Ali Akbar Rabi’i, Isfahan

Mahuddin Shirouzehi, Zahedan

Arman Hassanzani, Zahedan

Mahmoud Hassanzani, Zahedan

Morteza Hassanzani, Zahedan

Zolfaghar Jan Hassanzani, Zahedan

1.10.

Ali Bani Assad, Ahvaz

Mokhtar Ahmadi, Marivan

Khodanour Laje’i

Ehsan Khan Mohammadi, Teheran

Pouya Rajab Nia, Babol

Mehrab Dolat Panah, Talesh

30.9.: Massaker von Zahedan

Esmail Abil

Mukhtar Ahmadi, Marivan

Abu Bakr Ali-Zehei

Lal Mohammad Alizehi

Ahmad Sarani Alizehi

Balal Anshini

Lal Mohammad Anshini

Mehdi Anshini

Musa Anshini

Suleiman Arab

Amin Goleh Bacheh

Amin Badr

Riassat Badel Balouch

Abdorrahman Balouchi

Abdolrahman Baluchikhah

Ali Barahouie, 14

Ali Akbar Barahui

Mohammad Barahui

Mahmoud Barahui

Abdulghafoor Noor Barahui

Zacharie Barahui

Abdol Samad Barahui-Aidouzehi

Mustafa Barichi, 24

Lal Mohammad Brahoui , 18

Abdul Ghafoor Dehmardeh

Mansour Dehmardeh

Musa Doveira

Mohammad Farough-Rakhsh

Mohammad Ali Gamshad-Zehei, 18

Mohammad Amin Gamshad-Zehei, 17

Mohsen Gamshad-Zehei

Salahuddin Gamshad-Zehei

Vahed Gamshad-Zehei

Saeed Gergige

Matin Ghanbarzehi, 13

Mohammad Ghaljei

Aminollah Ghaljaei

Ibrahim Gorgij

Matine Qanbar Zehi Gorgij

Amir Mohammad Gumshadzehi

Ali Akbar Halgheh-Begoush

Omran Hassanzehei

Vahid Hovat

Azizollah Kabdani

Sedis Keshani, 14

Azizullah Kubdani

Nematollah Kubdani

Mirshekari

Abubakr Nahtani

Musa Nahtani

Mohammad Eqbal Naib-Zehi

Hamid Narouei

Hamzeh Narouei

Mohammad Sediq Narouei

Younes Narouei

Abdollah Naroui

Ali Aqli Naroui

Rafi Naroui

Abdollah Naroui

Abdol Majid Naroui

Musa Dovira Narui, 18

Hasti Narui

Rafe Naroui, 23

Ali Agheli Narui,28

Abdol Vahid Tohid Nia

Javad Pousheh, 12

Aminullah Qoljai

Mohammad Qoljaei

Abdolmanan Rakhshani

Balal Rakhshani

Jalil Rakhshani

Mansour Rakhshani

Mohammad Rakhshani, 12

Heydar Narui Rashid

Abdol Majid Rigi

Behzad Rigi, 30

Mohammad Rigi

Gungo Zehi Rigi

Amir Hossein Mir Kazehi Riggi, 19

Hamid Reza Saneipour

Omid Safarzehi, 17

Omid Sarani, 12

Ahmad Sargolzaei

Abdolmalek Shahbakhsh

Abdullah Shahbakhsh

Ahmad Shahbakhsh

Danial Shahbakhsh

Daniel Shahbakhsh, 11

Farzad Shahbakhsh

Imran Shahbakhsh

Majid Shahbakhsh

Mohiuddin Shahbakhsh

Omran Shahbakhsh

Yaser Shahbakhsh

Abdol Khaleq Shahnavazi

Amir Hamzeh Shahnavazi

Mahmoud Shahnavazi

Mohammad Eghbal Shahnavazi, 16

Omar Shahnavazi

Omid Shahnavazi

Thamer Shahnavazi

Yaser Shahouzehi, 16

Jaber Shiroozehi, 12

Najm al-Din Tajik

Najmuddin Tajik

Abdol Samad Thabitizadeh

Abdul Wahid Tohidnia

Mohammad Reza Adib Toutazehi

Esmail Hossein Zahi

Hamid Isa Zehei

Jalil Mohammad Zehei

Majid Baloch Zehi

Mohammad Ali Esmail Zehi

Samer Hashem Zehie, 16

Gholam Nabi Noti Zehi

Abdol Jalil Qanbar Zehi

Khalil Qanbar Zehi

29.9.

Erfan Nazarbeigi, Teheran

28.9.

Samad Barginia, Piranshahr

Amir Mehdi Farrokhipour, 17, Teheran

Amir Reza Naderzadeh, Nowschahr

26.9.

Abdolsalam Ghader Galvani, 32, Oshnavieh

25.9.

Mohammad Jameh Bozorg, Karaj

Hamin Foulavand, Varamin

Nader Kokar, Rudsar

Milad Ostad-Hashem, 37, Teheran

Siavash Mahmoudi, 16, Teheran

24.9.

Mehdi Asgari, Garmsar

Mehrzad Avazpour, Nowschahr

Mohammad Hosseinikhah, Sari

Hossein Ali Kia Kanjouri, 23, Nowschahr

Mahmoud Keshvari, Karaj

Lina Namour, Teheran

Morteza Nowroozi, Langaroud

Mohammad Hossein Sarvari-Rad, Garmsar

23.9.

Ehsan Alibazi, 16, Shahr-e-Qods

Sarina Esmailzadeh, 16, Karaj

Hamid Fouladvand, Pakdasht

Alireza Hosseini, 26, Teheran

Seyyedeh Ameneh Vahdat Hosseini, Karaj

Javad Khansari, 36, Teheran

Hossein Morovati, Qarchak Varamin

Hediyeh Naeimani, Nowschahr

Pouya Ahmadpour Pasikhani, 17, Rasht

Ahmad Reza Qoliji, Hamedan

Parsa Rezadoust, 17, Hashtgerd

Mohammad Javad Zahedi, 16, Sari

22.9.

Kanaan Aghaei, 18, Karaj

Mehrdad Avazpour, Nowschahr

Pedram Azarnoush, 16, Dehdasht

Mehrdad Behnam-Asl, Dehdasht

Mohammad Reza Eskandari, 25, Pakdasht

Sasan Ghorbani, 32, Rezvan Shahr

Arvin Malamali Golzari, Fuladshahr

Esmail Heydari, Ardabil

Javad Heydari, 36, Qazvin

Mohammad Hossein-Khah, Mazandaran

Yaser Jafari, Ilam

Rouzbeh Khademi, 32, Karaj

Shirin Alizadeh Khansari, 35, Tschalus

Mehdi Leylazi, Karaj

Mohammad Rasoul Momenizadeh, Rasht

Mohsen Pazouki, Pakdasht Varamin

Maziar Salmanian, Rasht

Mohammad Reza Sarvari, 14, Shahr-e Ray

Setareh Tajik, 17, Teheran

Mohammad Amin Takoli, Teheran

21.9.

Matin Abdollahpour, 16, Urmia

Fereydoun Ahmadi, Saqqez

Roshana Ahmadi, Bukan

Mehdi Babr-Nejad, Gouchan

Amir Hossein Basati, 15, Kermanschah

Amir Bastami, Kermanschah

Ghazaleh Chalavi, 33, Amol

Abdolfazl Akbari Doust, Langarud

Mehdi Mohammad Fallah, 33, Amol

Mohammad Farmani, Shahr-e-Ray

Alireza Fathi, Sanfar

Amir Ali Fouladi, 16, Islamabad-e Gharb

Mohsen Geysari, 32, Ilam

Mehrdad Ghorbani, Zanjan

Milan Haghighi, 21, Oshnavieh

Saeed Iranmensh, Kerman

Yasin Jamalzadeh, 28, Rezvan Shahr

Erfan Khazaee, Shahriar

Hannaneh Kia, 22, Nowshahr

Mohsen Mohammadi Kochsaraei, Qaemchahr

Behnam Layeghpour, 37, Rascht

Sadreddin Litani, 27, Oshnavieh

Amir Hossein Mahdavi, Rasht

Mino Majidi, Qasr-e Schirin

Mohsen Mal Mir, Nowschahr

Amin M’arefat, 16, Oshnavieh

Abdolfazl Mehdipour, Babol

Mahsa Mogouei, 18, Fulad Shahr

Amir Mehdi Malak Mohammadi, Teheran

Iman Mohammadi, Islamabad-e Gharb

Saeid Mohammadi, 21, Islamabad-e Gharb

Abdollah Mohammadpour, 17, Urmia

Seyed Mehdi Mousavi, 15, Zanjan

Seyyed Sina Mousavi, Amol

Seyyed Abbas Mir-Mousavi, Langarud

Mahdi Mousavi Nikou, 16, Zanjan

Hadis Najafi, 22, Karaj

Mehrab Najafi, Zarinchahr

Amir Nowroz, 16, Bandar-e Anzali

Arash Pahlavan, 27, Machad

Danesh Rahnema, 25, Urmia

Parza Rezadoust, 17, Karaj

Erfan Rezaei, 21, Amol

Ali Mozaffari Salanghouch, 17, Gouchan

Mohammad Mam Saleh, Sardasht

Mohammed Reza Savari, 14, Haschtgerd

Amir Hossein Shams, Nowschahr

Pouya Sheida, Urmia

Morteza Soltanian, Esfahan

Mohammad Hassan Torkaman, 27, Babol

Mohammad Zamani, 16, Teheran

Mohammad Zarei, Qrachak

20.9.

Sasan Bagheri, Rezvanshahr

Farjad Darvishi, 23, Urmia

Zakaria Khayal, 16, Piranshahr

Erfan Khazaei, Zahedan

Farzin Lotfi, 35, Rezvan Shahr

Minoo Majidi, 62, Kermanschah

Diako Mehrnavaei, Bukan

Nika Shakarami, 17, Teheran

Reza Shahparnia, 20, Kermanschah

Abdolsamad Sabeti Zadeh , Zahedan

Milad Zare, 25, Babol

19.9.

Hajar Abbasi, ca. 70, Mahabad

Fardin Bakhtiari, Sanandaj

Iman Behzadpour, Sanandaj

Reza Lotfi, 25, Dehgolan

Aysan Madanpasand, Tabriz

Fereydoun Mahmoudi, 32, Saqqez

Mohsen Mohammadi, 28, Divandarreh

18.9.

Fouad Ghadimi, etwa 40, Divandarreh

16.9.

Mahsa Jina Amini, 22, Teheran

Unbekannter Todestag:

Saeid Iranmanesh, Kerman

Omid Safarzahi, 17

Afshin Shahamat, 16, Teheran

Jabir Shirouzahi, 12

Die Namen sind zusammengetragen v.a. aus folgenden Quellen:

https://english.mojahedin.org/news/iran-pmoi-mek-publishes-names-of-martyrs-of-the-iranian-peoples-nationwide-uprising/ externer Link

https://iranwire.com/en/politics/108299-remembering-victims-iran-protests-2022/ externer Link

https://www.en-hrana.org/woman-life-freedom-comprehensive-report-of-20-days-of-protest-across-iran/?hilite=244+killed externer Link

https://www.amnesty.de/sites/default/files/2022-10/Amnesty-Bericht-Recherche-Iran-Proteste-getoetete-Kinder-Jugendliche-Polizeigewalt-Oktober-2022.pdf externer Link

https://iran-hrm.com/2022/10/13/26-names-of-killed-children/ externer Link

https://www.spiegel.de/ausland/wie-iran-den-protest-bekaempft-die-blutspur-des-regimes-a-da6d644d-a42f-4271-8331-58cd291b460a externer Link

https://hengaw.net/en/news/16-kurdish-citizens-killed-in-the-protests-on-the-40th-day-death-anniversary-of-zhina-mahsa-amini externer Link

https://www.labournet.de/internationales/iran/lebensbedingungen-iran/liste-der-menschen-die-bei-den-protesten-im-iran-seit-16-september-2022-getoetet-wurden/

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trackmelodycom · 27 days

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capitanmorgancyberzine · 2 years

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VENEZIA 79 - 90 ANNI DI CINEMA al LIDO di VENEZIA

Manifesto Lorenzo Mattotti

COMPETITION of 79th Venice Film Festival

1. WHITE NOISE - OPENING FILM by NOAH BAUMBACH starring Adam Driver, Greta Gerwig, Don Cheadle, Raffey Cassidy, Sam Nivola, May Nivola, Jodie Turner-Smith, André L. Benjamin and Lars Eidinger/ USA / 136'

2. IL SIGNORE DELLE FORMICHE by GIANNI AMELIO with Luigi Lo Cascio, Elio Germano, Leonardo Maltese, Sara Serraiocco / Italy / 134'

3. THE WHALE by DARREN ARONOFSKY with Brendan Fraser, Sadie Sink, Hong Chau, Samantha Morton, Ty Simpkins / USA / 117'

4. L'IMMENSITÀ by EMANUELE CRIALESE with Penélope Cruz, Luana Giuliani, Vincenzo Amato, Patrizio Francioni / Italy, France / 97'

5. SAINT OMER by ALICE DIOP with Kayije Kagame, Guslagie Malanda, Valérie Dréville, Aurélia Petit / France / 122'

6. BLONDE by ANDREW DOMINIK with Ana de Armas, Adrien Brody, Bobby Cannavale, Xavier Samuel, Julianne Nicholson, Lily Fisher / USA / 165'

7. TÁR by TODD FIELD with Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong / USA / 158'

8. LOVE LIFE by KÔJI FUKADA with Fumino Kimura, Kento Nagayama, Atom Sunada / Japan, France / 123'

9. BARDO, FALSA CRÓNICA DE UNAS CUANTAS VERDADES (BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS) by ALEJANDRO G. IÑÁRRITU with Daniel Giménez Cacho, Griselda Siciliani, Ximena Lamadrid, Iker Sanchez Solano, Andrés Almeida, Francisco Rubio / Mexico

10. ATHENA by ROMAIN GAVRAS with Dali Benssalah, Sami Slimane, Anthony Bajon, Ouassini Embarek, Alexis Manenti / France / 97'

11. BONES AND ALL by LUCA GUADAGNINO with Taylor Russell, Timothée Chalamet, Mark Rylance, André Holland, Chloë Sevigny, Jessica Harper, David Gordon Green, Michael Stuhlbarg, Jake Horowitz / USA / 130'

12. THE ETERNAL DAUGHTER by JOANNA HOGG with Tilda Swinton, Joseph Mydell, Carly-Sophia Davies / UK, USA / 96'

13. SHAB, DAKHELI, DIVAR (BEYOND THE WALL) by VAHID JALILVAND with Navid Mohammadzadeh, Diana Habibi, Amir Aghaee / Iran / 126'

14. THE BANSHEES OF INISHERIN by MARTIN MCDONAGH starring Colin Farrell, Brendan Gleeson, Kerry Condon, Barry Keoghan / Ireland, UK, USA / 109'

15. ARGENTINA, 1985 by SANTIAGO MITRE with Ricardo Darín, Peter Lanzani, Alejandra Flechner, Norman Briski / Argentina, USA / 140'

16. CHIARA by SUSANNA NICCHIARELLI with Margherita Mazzucco, Andrea Carpenzano, Carlotta Natoli, Paola Tiziana Cruciani, Luigi Lo Cascio / Italy, Belgium / 106'

17. MONICA by ANDREA PALLAORO with Trace Lysette, Patricia Clarkson, Adriana Barraza, Emily Browning, Joshua Close / USA, Italy / 106'

18. KHERS NIST (NO BEARS) by JAFAR PANAHI with Jafar Panahi, Naser Hashemi, Vahid Mobaseri, Bakhtiar Panjeei, Mina Kavani, Reza Heydari / Iran / 106'

19. ALL THE BEAUTY AND THE BLOODSHED by LAURA POITRAS USA / 113'

20. UN COUPLE (A COUPLE) by FREDERICK WISEMAN with Nathalie Boutefeu / France, USA / 63'

21. THE SON by FLORIAN ZELLER with Hugh Jackman, Laura Dern, Vanessa Kirby, Zen McGrath, Anthony Hopkins, Hugh Quarshie / UK / 123'

22. LES MIENS (OUR TIES) by ROSCHDY ZEM with Sami Bouajila, Roschdy Zem, Meriem Serbah, Maïwenn, Rachid Bouchareb, Abel Jafrei, Nina Zem / France / 85'

23. LES ENFANTS DES AUTRES (OTHER PEOPLE'S CHILDREN) by REBECCA ZLOTOWSKI with Virginie Efira, Roschdy Zem, Chiara Mastroianni, Callie Ferreira / France / 104'

OUT OF COMPETITION

1. The Hanging Sun, by Francesco Cozzini - Closing Film of the Festival

2. Kapag Wala Nang Mga Alon (When the Waves are Gone), by Lav Diaz

3. Living, by Oliver Hermanus

4. Dead for a Dollar, by Walter Hill

5. Kone Taevast (Call of God), by Kim Ki-Duk

6. Dreamin' Wild, by Bill Pohlad

7. Master Gardener, by Paul Schrader

8. Drought, by Paolo Virzi

9. Pearl, by Ti West

10. Don't Worry Darling, by Olivia Wilde

OUT OF COMPETITION - NON FICTION

1. Freedom on Fire: Ukraine's Fight for Freedom, by Evgeny Afineevsky

2. The Matchmaker, by Benedetta Argentieri

3. The Last Days of Humanity, by Enrico Ghezzi and Alessandro Gagliardo

4. A Compassionate Spy, by Steve James

5. Music for Black Pigeons, by Jorgen Leth and Andreas Koefoed

6. The Kiev Trial, by Sergei Loznitsa

7. In viaggio, by Gianfranco Rosi

8. Bobi Wine Ghetto President, Christopher Sharp and Moses Bwayo

9. Nuclear, by Oliver Stone

OUT OF COMPETITION - TV SERIES

1. Riget Exodus (The Kingdom Exodus) - episodes 1-5, by Lars von Trier (1 September)

2. Copenhagen Cowboy - episodes 1-6, by Nicolas Winding Refn

OUT OF COMPETITION - SHORTS

1. Camarera de Piso (Maid), by Lucrecia Martel

2. Look at Me, by Sally Potter

3. As for Us, by Simone Massi

4. When the war is over, by Simone Massi

ORIZZONTI

1. Princess, by Roberto De Paolis - Opening film

2. Obet' (Victim), by Michal Blaško

3. En Los Margenes (On the Fringe), by Juan Diego Botto

4. Trenque Lauquen, by Laura Citarella

5. Vera, by Tizza Covi and Rainer Frimmel

6. Innocence, by Guy Davidi

7. Blanquita, by Fernando Guzzoni

8. Pour la France (For My Country), by Rachid Hami

9. Aru Otoko (A Man), by Kei Ishikawa

10. Chleb I Sol (Bread and Salt), by Damian Kocur

11. Luxembourg, Luxembourg, by Antonio Lukich

12. Ti mangio il cuore, by Pippo Mezzapesa

13. Spre Nord (To The North), by Mihai Mincan

14. Autobiography, by Makbul Mubarak

15. The Syndacaliste (The Sitting Duck), by Jean-Paul Salomé

16. Jang-E Jahani Sevom (World War III), by Houman Seyedi

17. Najsrekniot Čovek Na Svetot (The Happiest Man in the World), by Teona Strugar Mitevska

18. A Noiva (The Bride), by Sergio Trefaut

ORIZZONTI EXTRA

1. L'origine du mal (Origin of Evil), by Sebastien Marnier - Opening film

2. Hanging Gardens, by Ahmed Yassin Al Daradji

3. Amanda, by Carolina Cavalli

4. Zapatos Rojos (Red Shoes), by Carlo Eichelmann Kaiser

5. Nezouh, by Soudade Kaadan

6. Phantom Night, by Fulvio Risuleo

7. Bi Roya (Without Her), by Arian Vazirdaftari

8. Valeria Mithatenet (Valeria is Getting Married), by Michal Vinik

9. Goliath, by Adilkhan Yerzhanov

_________///_______////_______///_______///_______

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alliwood-cinema-iran · 3 years

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#film #meshmeshe #shahed ahmadlu #cinema #iranian #babak noori #imdb

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architecturever · 5 years

Video

Architect : @sara_kalantary , @rezasayadian Client : Farahani Saba Construction : @tdcoffice Project Manager : Reza Sayadian Construction Superintendent : Mohammad Hossein Izadi Design Associates : Arian Spiridonoff , Anahita Vazirnezami , Vida Janavi , Rojin Gahvarei Presentation team:Mahasta Mahfuzi,Asal Karami, @mohammadghaffari.1 Ghaffari , Ladan Pakzad. Construction Associates : Ashkan Farahani Saba , Tabasom Heydari , Negin Razaghi. Electrical,Mechanical,Structure: Afshari, Hassanzadeh, Fathi. Metalworks : Mohammad Athari Photography : Parham Taghioff , Hossein Barazande. architecture . Good idea What do you think? ▪️connect to us will connect you to "architecture" you "ever" seen from @architecturever_ ▪️subscribe us on YouTube ▪️visit us on www.architecturever.com link in bio ▪️For More Follow : @architecturever_. @green_architecturever @natureinspirations_ @architecturrver_travelling @architecturever_studio @architectureverstore ▪️Credit Or Removal :( DM ) Or Gmail 📩 #architecturever #greenarchitecturever #greenarchitecture #futurearchitect #architectureschool #youngarchitects #architecturestudentlife #architecture #architecturedrawing #architecturelovers #architecturemodel #studyarchitecture #archistudentlife #archistudent #architecturestudent #architecturelovers #critday #lifeofanarchitecturestudent #youngarchitect #studentofarchitecture #bestnewarchitects #designstudent #architecturejobs #architecturestudents #studentarchitect #archstudent #archi_students #archistudents #architecturaldrawing #itscritday https://www.instagram.com/p/B6w2uRtJfvp/?igshid=z1szg0veylh

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annhens93x · 7 years

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MIKA SIHVONEN WON THE 2017 BODYBUILDING WORLD RANKING

In a close battle for title with fantastic young irish Blessing Awodibu; the Finnish star Mika Sihvonen won the IFBB World Ranking Elite and made history, winning the first edition of this Circuit that has raised the amateur Bodybuilding to a new level, beside the main check valued in 15.000 euros.

Mika Sihvonen, who has been undefeated in Finland since his second competition and one of the most awarded athletes in Europe, won several titles during the year (as the Diamond Cup Portugal and Ben Weider Legacy Cup Lahti), reaching a total of 28 points. With his barely 80 kg, his main challenger has been the huge Blessing Awodibu (106 kg) who took in his hand to be the winner but, placing 2nd. in the World Championships, only reached 12 points; scoring a total of 26 points, not enough to defeat Sihvonen.

For 2018, both competitors could offer a new great battle, either in the World Ranking or in the Elite Pro Circuit as, for the moment, no one of them confirmed where they will continue with his sport careers.

TOP 10 BODYBUILDING WORLD RANKING:

1) Mika Sihvonen (Finland) 28 points 15.000 € 2) Blessing Awodibu (Ireland) 26 points 9.000 € 3) Dorj Gansukh (Mongolia) 23 points 5.000 € 4) Mahdi Heydari (Iran) 21 points 4.000 € 5) Mohsen Samadi (Iran) 21 points 3.000 € 6) Volodymyr Byruk (Ukraine) 21 points 2.500 € 7) Ben Abdellah A. (Algeria) 21 points 2.000 € 8) Zoheir Mihoubi (Algeria) 21 points 1.500 € 9) Usman Bathily (Spain) 18 points 1.000 € 10) Reza Rezaei (Iran) 18 points 750 €

Picture: Blessing Awodibu (2nd. place) and Mika Sihvonen (winner); main stars at the 2017 Bodybuilding World Ranking Gala.

from Muscle and Bodybuilding http://bit.ly/2zBXQku via IFTTT

#IFTTT #Muscle and Bodybuilding

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whileiamdying · 2 years

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Jafar Panahi’s Ingenious, Tragic “No Bears” Is a Formalist Triumph

In his latest film, the now jailed director captures the daily absurdities of Iranian lives ruled by surveillance and superstition.

By Richard Brody December 21, 2022

In Jafar Panahi’s “No Bears,” the director plays a version of himself, exposing the absurdities and terrors of daily existence in Iran under the regime’s misrule.Photograph courtesy Sideshow and Janus Films

Formalism gets a bum rap. No style carries intrinsic virtue, but formalism, at its best, is a powerful expression of political crisis, embodying realities too extreme for plain narration. In particular, the formalism of reflexive cinema, which exposes the artifices of fiction, seems made to call out the fabrications of a censorious regime’s stage-managed public images. Soon after the 1979 Islamic Revolution, reflexive metafictions became a specialty of the Iranian cinema, led by the late Abbas Kiarostami and followed by his onetime assistant and longtime associate Jafar Panahi. (In Panahi’s 1997 film, “The Mirror,” a child actress declares, “I’m not acting anymore,” and takes her head scarf off—reflexivity doesn’t get much more explicit than that.)

In recent years, Panahi has had even more radical kinds of reflexivity thrust upon him by the regime itself: in 2010, after his arrest on political charges, he was banned from making films, speaking to the press, and travelling outside the country. He was also given a six-year prison sentence, which was suspended, and he was instead put under house arrest. He responded with a film called “This Is Not a Film,” made mostly in his Tehran apartment, in which he diagrams and describes and even acts out a movie that he wouldn’t be able to make with cast and crew. His movies since then have involved similar ruses. In “Taxi,” from 2015, he plays himself as a cabdriver and builds the action with passengers whom he records on what is ostensibly his security camera. (This July, amid an ongoing crackdown on filmmakers and other artists, Panahi was arrested again; he’s currently incarcerated, sentenced to serve out his original six-year prison term.)

Panahi’s latest film, “No Bears,” which played at the New York Film Festival in October and opens Friday at Film Forum, is his most daring, most intricate, and most defiant metafiction, and its very complexity is a crucial aspect of its political fury. The movie is composed of three main strands, each of which has its own component threads; in their particulars and taken together, they evoke the grinding difficulties of social life—and the paranoid labyrinth of inner life—under a repressive regime. In “No Bears,” Panahi plays a filmmaker with his own name (we’ll call the character “Jafar”), who has travelled from his home in Tehran to a village near the border with Turkey in order to direct a film. In depicting the absurd constraints that he himself faces, Panahi exposes the absurdities of daily existence in Iran and the pathologies that afflict the population as a result of its misrule. He also displays, with a scathing severity, the guilt and the complicity that he bears in making movies and enlisting the participation—witting or unwitting, intended or incidental—of others. He carries, however unjustly, the mark of dissidence and (political) crime, and this turns out to be as contagious as it is dangerous.

Though Jafar, who faces legal troubles akin to those of the real-life Panahi, is making a movie, he may not technically be violating a ban on filmmaking, because Jafar is not really directing. Rather, he’s tele-directing a crew and actors who are just over the border, in a Turkish town. From the little house that he’s renting, he watches, via Internet, on his laptop computer, the scenes as they’re being shot (on video), and he passes his comments along to his assistant, Reza (Reza Heydari), and to the actors, Zara (Mina Kavani) and Bakhtiar (Bakhtiyar Panjeei), a couple. The pair are enacting a drama that is also purportedly the real, present-tense story of their lives. They’re Iranians who are living in exile in Turkey and trying to get hold of stolen passports in order to make their way safely to Europe, but the effort to procure the precious documents (and to film their procurement) puts their relationship to a severe test.

Meanwhile, in the village where Jafar is staying, he gets involved in drama of his own—or, rather, of his temporary neighbors. In his few days there, he gets curious about village life, with its elaborate and highly codified traditions, many of which have to do with marriages and their arrangements. He delegates his temporary landlord, a ditchdigger named Ghanbar (Vahid Mobasheri), to video-record a premarital ceremony, and, while it’s taking place, he photographs some residents. Soon, he’s accused of having taken a picture of an illicit couple—a woman named Gozal (Darya Alei) and a man named Soldooz (Amir Davari)—who want to marry despite her having been promised, at birth (yes, at birth), to another man, Yaghoub (Javad Siyahi). Yaghoub and his relatives demand the photo as proof of the illicit relationship; after Jafar denies its existence, he’s summoned by the village chief (Naser Hashemi), confronted by an angry mob, and forced to swear to his story before the village elders. (Gozal fearfully begs Jafar not to disclose any such photo, and Yaghoub is preparing to take matters violently into his own hands.)

The third strand of the tangled tale is focussed on Jafar’s own legal issues. He’s visited by Reza, the bearer of a legitimate passport, who comes and goes freely between Iran and Turkey. Reza brings him a hard drive containing the film’s footage and guides him on a lonely smugglers’ road to a hilltop from which they can see, from not-so-afar, the Turkish city where Jafar’s movie is being filmed—and where, with a single step across an invisible line, Jafar can defy his ban on international travel, enter Turkey, and, if he so chooses, live beyond the reach of the Iranian government.

There’s palpable joy in the sheer ingenuity of the movie’s conception and in the realization of it. Panahi goes at his subjects with an irrepressible cinematic verve that extends from the story and the dialogue to the performances and the very presences of the actors. (Some are professionals, others are nonprofessionals recruited on location.) Yet for all the immediacy, the spontaneity, the vitality of the moment-to-moment experience, each moment also seems perched on the precipice of tragedy—and that grim instability is built into the movie’s style. Many of the film’s most dramatic sequences are night scenes filmed with daringly little light, as in remote settings illuminated solely by the interior light of Jafar’s car, the screen on his cell phone, or the full moon, or on desolate dirt roads lit only by headlights. Much is done in secret: important things are hard to see and the effort of discernment in high-stakes situations is crucial to the drama. Panahi relies on long takes without longueurs, many executed using pan shots that unite multiple fields of action and a varied array of characters in a single sweep, others featuring fixed-frame compositions in which the action is often multiplied by the presence of interested observers contemplating the dramatic events and extending them into an extra spatial and psychological dimension.

The main observer is Jafar himself. The camera often assumes his point of view—his troubling discoveries and piercing revelations. As an actor, Panahi delivers a performance that incarnates the weight of the character’s observations; he remains stoic and impassive, even when his voice flashes with indignation. Jafar is the Heisenbergian observer whose presence, with or without cameras, perturbs his surroundings and adds to the troubles of those around him. As he makes his way through the village, he unleashes a Pigpen-like whirlwind of chaos, because what he’s really observing, more than any individuals, is the invisible net of unbearable surveillance in which they’re caught—and which tightens with fear, in menacing cruelty, when it’s in danger of being exposed.

The material particulars of that surveillance are filmed with a wise and wild discernment. Jafar is dissuaded from climbing to a roof for a cell-phone signal, lest neighbors think he’s “peeping.” Ghanbar, the landlord, turns the camera off when a female cousin of his is speaking, for fear that he’ll record her saying “a bad word.” Near the border, the savvy Reza warns Jafar of “ten eyes” that are watching. As the situation in the village deteriorates, owing to the illicit romance of which Jafar may or may not have photographic evidence, the national Revolutionary Guard makes threats and demands. Moreover, some villagers are caught in a fake economy dominated by smuggling and black marketeering, and this adds another layer of fear of discovery. Amid such ambient daily terror, Jafar’s glances into the rearview mirror while driving take on a Hitchcockian frenzy. (The story of the Turkish-based actors and couple Zara and Bakhtiar, in their emotional and spiritual limbo of exile, is held in the same grid of oppression and fear; Zara gives voice to a traumatic backstory of jail and torture, prior to exile.)

The intertwined elements of Iran’s ubiquitous surveillance are presented, in equal measure, as oppressive law and irrational tradition. One of the village’s few bold freethinkers sums up the movie in a single line: “Town people have problems with authorities; we have problems with superstition.” Jafar, a town person, comes into conflict with the villagers over superstition, while bringing the authorities’ sharpened attention to bear on them because of his own legal trouble. He’s not the cause of tragedy—he didn’t bring the illicit couple together, he didn’t urge Zara and Bakhtiar to travel under false pretenses. But, in his effort to bear witness, he himself becomes a tragic figure, implicated in the very web of surveillance that also targets him. The furious core of his tragic knowledge is that the main targets of oppressive religious rule, whether governmental or traditional, are women; the main purpose of enforced dogma is to deprive women of their autonomy, especially their sexual freedom. In the face of such enormity, of such outrage, Jafar’s—rather, Panahi’s—stoic gaze takes on a blank bewilderment as he stares out to nowhere, in an absolute existential void. ♦

Richard Brody began writing for The New Yorker in 1999. He writes about movies in his blog, The Front Row. He is the author of “Everything Is Cinema: The Working Life of Jean-Luc Godard.”

#The New Yorker #Richard Brody #Iranian Cinema #Iran #Cinema #Jafar Panahi #Abbas Kiarostami #Jafar Panahi’s Ingenious #No Bears

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addedperspective2 · 7 years

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Aria Gallery, Tehran, May 2017. Photo credit Sharareh Samei, Honar Online

Shokou Gallery, Tehran, April 2017. Photo credit Honar Online

Emkan, Tehran, April 2017. Photo credit: Sharareh Samei, Honar Online

O Gallery, Tehran, April 2017. Photo credit: Sharareh Samei, Honar Online

Vista Art Gallery, Tehran, April 2017. Photo credit: Gata Ziatabari, Honar Online

Atbin Gallery, Tehran, April 2017. Photo credit. Farzan Ghasemi, Honar Online

Jaleh Gallery, Tehran, April 2017. Photo credit: Alireza Farahani, Honar Online

Vista Art Gallery, Tehran, May 2017. Photo credit: Gata Ziatabari, Honar Online

Golestan Gallery, Tehran, May 2017. Photo credit Ramona Mirian, Honar Online

Roberoo Mansion, Tehran, May 2017. Photo credit: Farzan Ghasemi, Honar Online

Shirin Gallery, Tehran, May 2017. Photo credit Gata Ziatabari, Honar Online

Tehran’s Art Center, May 2017. Photo credit: Ramona Mirian, Honar Online

The exhibition at Azad Art Gallery intends to review the phenomenon of reproduction, replication and transcription in art. Tehran, May 2017. Photo credit Sharareh Samei, Honar Online

Golestan Gallery, Tehran, May 2017. Photo credit Ehsan Neghabat, Honar Online

Saless Gallery, Tehran, May 2017. Photo credit: Alireza Farahani, Honar Online

Iranshahr Art Gallery, Tehran, May 2017. Photo credit: Alireza Farahani, Honar Online

Dena Gallery, Tehran, May 2017. Photo credit: Alireza Farahani

Sareban Gallery, Tehran, May 2017. Photo credit: Honar Online

Vali Art Gallery, Tehran, May 2017. Photo credit: Sharareh Samei, Honar Online

Fereshteh Art Gallery, Tehran, May 2017. Photo credit: Alireza Farahani, Honar Online

Overview

“Journey to myself”, painting exhibition by Morteza Asadi in memory of Davood Emdadian at Aria Gallery. Bio: tavoosonline.com

“Horn”, group painting exhibition at Shokou Gallery

“Faraway”, photo exhibtion by Mohsen Shahmardi at Emkan. Bio: mohsenshahmardi.com

“The earth”, selection of works on paper, sculptures and installation by Niloofar Lohrasbi at O Gallery. More: O Gallery (The Eart)

“Dark evolution”, painting exhibition by Azin Rostami at Vista Art Gallery. More: Vista Gallery

“The unseen”, collection of works by Nasser Ovissi at Atbin Gallery. Bio: galleryovissi.com

“Eve’lution”, photo exhibition by Nazanine Ezdiari at Jaleh Gallery. Bio: mekicartgallery.com

“Vacuum bag”, installation by Razieh Aarabi at Vista Art Gallery. More: Vista Art Gallery

Painting exhibition by Alireza Esmaeli at Golestan Gallery. More: Golestan Gallery

“Ghabaleh”, group exhibition curated by Mojdeh Atrak at RoBeRoo Mansion. Artists: Amirmasoud Agharebparast, Hoda Amin, Nazly Pourshirmohamad, Ehsan Tahvilian, Negin Haddadzadeh, Nojan Heydari, Zahere Donyadide, Ehsan Rooholamin, Ehsan Ziaee, Yookabet Farokhi, Zahra Ghyasi, Mahya Giv, Tarlan Lotfizadeh and Maryam Mostaghel

Painting exhibition by Reza Hedayat at Shirin Gallery. More: shiringallery.com

Painting exhibition by Nasser Azizi at Tehran’s Art Center. Bio: mahartgallery.com

“Copy-Paste”, curated by Shahram Entekhabi at Azad Art Gallery. The exhibition intends to review the phenomenon of reproduction, replication and transcription in art.

Painting exhibition by Hadi Farahani at Golestan Gallery. Bio: iranian.com

“Immigration postal boxes”, painting exhibition by Mehrshad Khosravi Yekta at Saless Gallery

“Night, daylight twilight”, painting exhibition by Pariyoush Ganji at Iranshahr Gallery

“Human is the difficulty of duty (1); Ability of loving and to be loved”, group multimedia exhibition curated by Farshid Parsikia at Dena Gallery

“The shadow inside”, painting exhibition by Niloufar Qaderinejad at Sareban Gallery. More: Sareban Gallery

“Girls of the turquoise land”, painting exhibition by Behzad Bozorgi at Valir Art Gallery. Bio: Vali Art Gallery

“Typography”, group calligraphy exhibition at Fereshteh Art Gallery. Artists: Mohammad Ehsaei, Nasrolah Afjehi, Salar Ahmadian, Omid Khakbaz, Babak Rashvand, Alireza Saadatmand, Eineddin Sadeghzadeh, Mehdi Falah and Kiarash Yaghubi

Sources: Honar Online (HO) 1, HO 2, HO 3, HO 4, HO 5, HO 6, HO 7, HO 8, HO 9, HO 10, HO 11, HO 12, HO 13, HO 14, HO 15, HO 16, HO 17, HO 18, HO 19, HO 20, Aria Gallery (Journey to Myself), Atbin Gallery, Azad Art Gallery (Copy-Paste), Emkan (Faraway), Fereshteh Art Gallery (Typography), Golestan Gallery (H. Farahani), Jaleh Gallery (Instagram), Shokou Gallery, Tehran Art Center, instagram @behzadbozorgi, instagram @davoodemdadian, instagram @Dena.gallery, instagram @fereshtehartgallery, instagram @iranshahrgallery, instagram @mehrshad_khosravi_yekta, instagram #نازنین_ازدیاری (Nazanine Ezdiari), instagram @rooberoo_mansion, instagram @salessgallery, instagram @sarebangallery, instagram @shiringallerytehran, instagram @VistaArtGallery, Honar Online (in Persian, about Bakhtiari, Bozorgi, Hedayat and Farahani), Mehr News (N. Azizi) (in Persian), Payvand (H. Farahani), Poster (N. Azizi), Poster (Horn), Poster (Vacuum Bag)

Strolling through Tehran’s art galleries – Part I Overview "Journey to myself", painting exhibition by Morteza Asadi in memory of Davood Emdadian at Aria Gallery.

#Art #Iran #Photos #Tehran

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