#masoud kimiai

[televikacom]

Iranian Cult Movies | The Most Important Films That Make Iranian Cinema Shine

What Is A Cult Movie (Film)

A movie that has a dedicated fanbase is known as a "cult film," "cult movie," or "cult classic." Cult movies are distinguished by their devoted and enthusiastic fandom, which coalesces into an intricate subculture. Members of this subculture see the movies several times, quote the dialogue, and actively participate in screenings. Definitions that are inclusive provide room for large studio productions, even those that tank at the box office, and explanations that are exclusive put more of an emphasis on lesser-known, subversive movies that are avoided by the mainstream. Each nation has its own cult movies. In this post, we want to talk about the best Iranian cult movies that change the path of Iranian cinema.

The difficulty in defining the word "cult cinema" and the subjectivity of determining whether films meet the criteria for that designation are similar to debates that arise when attempting to categorize works of art. The cult was a phrase that was often used in cinema analysis for decades previous to the 1970s when the term "cult film" was first used to describe the culture that surrounds underground films and midnight screenings. However, the word "cult" had been in use for decades before that.

+6 Best Iranian Cult Movies

If you have been of movie fan, you must have come across the word "cult movie" in the media and press. In cinema studies, films are usually explored in 3 fields of filmmaking (producers), audiences, and their social, cultural, and political implications, and in cult films, the second factor becomes critical. We have reviewed and introduced the essential Iranian cult movies here. A cult film is a piece of art outside the rules of the genre that attracts many fans from different strata of society as spectators and creates a social response. Let's review some Iranian cult movies and emphasize that this list will be updated with the passage of time.

Ganj-e Qarun by Siamak Yasemi

Mohammad Ali Fardin, Forouzan, and Taqi Zohuri feature in Siamak Yasemi's 1965 Iranian film Ganj-e Qarun. Ganj-e Qarun, also known as Qarun's Treasure, is a significant emblem of prosperity in Persian mythology. The biblical character Korah, who lived at the same time as Moses, is referred to as Qarun in Persian. A happy-go-lucky young guy called Ali Bigham unexpectedly saves the life of a wealthy elderly man named Qarun, who is trying suicide. Despite his great fortune, Qarun feels depressed and alone.

He has no one to live with him and is unwell. When Ali brings Qarun home, he discovers that the man there is really his own father, who long ago abandoned him and his mother. Ali initially ignores his father, but Qarun eventually captures his interest. Hasan acts as a comic to accompany Ali throughout the movie.

According to history, the film Ganj-e Qarun is the first film in Iranian cinema that has achieved millions of sales. This famous production by Siamak Yasmei created such a commotion during its cinema screening that it forced about 800,000 people - from the one million population of Tehran - to buy cinema tickets to watch the story. Ganj-e Qarun, considered one of the Iranian cult movies, shows that the poor and inferior class of society can be happier than the wealthy class.

Qeysar by Masoud Kimiai

Masoud Kimiai, an Iranian director, released Qeysar in 1969, which later is considered one of the Iranian cult movies. The movie, which was hailed as a "landmark in Iranian cinema," sparked a renewed interest in dark noir plays about offending family honor. As the titular hero Qeysar, Behrooz Vossoughi rose to fame in Iranian cinema. 

In a hospital, Fati, a young lady, passes away. When her family learns she killed herself, they are distraught. In a note she leaves behind, she explains that she committed herself as a consequence of being raped by Mansour Ab-Mangol. Farman, the elder brother of Fati and a former street thug now operating a butcher shop, makes the decision to face Mansour. Farman fights with his rage and finally chooses to put down his knife before meeting Mansour after his uncle persuades him not to pursue retribution.

The bitter and tragic ending of Qeysar, compared to the happy ending of Farsi films in the late 60s, created a turning point in Iranian cinema, which for the first time introduced the words "hero" and "anti-hero" among Iranian cinema enthusiasts. The film gained such popularity among critics and the general public that it turned the movement of "Caesarism" (Qeysar Way) with its protestant elements (which preferred the administration of justice based on personal rules to adherence to current laws) into a hot debate in society.

Kandoo (Beehive) by Fereydun Gole

Behrouz Vossoughi, Davoud Rashidi, Jalal Pishvaeian, and Reza Karam Rezaei starred in the 1975 Iranian film The Beehive, which was a drama in the Persian genre and was given the title Kandoo in its original language. The film was directed by Fereydun Gole.

Inspired by ancient Iranian mystical traditions such as Attar's Seven Valleys of Love, the movie Kandoo shows a story in which Agha Hosseini (Davoud Rashidi), after winning the game "Torna," force Ebi go to cafes from Lalezar Street to Tajrish Bridge without money and visit restaurants and eat free food and drinks. Agha Mustafa (Jalal Pishvaeian) believes that Ebi will not be able to handle this task and makes a bet with Agha Hosseini on this matter.

The image of Behrouz Voshoughi at the end of the film Kandoo with that bloody and beaten face in the northernmost part of Tehran, after passing seven cafes, is one of the most memorable images recorded in the history of Iranian cult movies. An image that many fans and cinephiles of today remind each other of repeatedly.

The Tenants (Ejareh-Nesheenha) by Dariush Mehrjoei

The Tenants, also known as Ejareh-Neshinha, is a comedy film that was released in Iran in 1987 and directed by Dariush Mehrjui. It is generally agreed upon that it is the most outstanding Iranian comedy picture to have been released during the 1980s. The story revolves around a single flat in Tehran and the numerous people that call it home.

By making the movie Tenants, Dariush Mehrjoei went to a social subject whose conflicts and problems continue to this day; The culture of apartment living - which, as a sign of modernity, has replaced the big old houses with courtyards - and the formation of the housing crisis in a metropolis like Tehran, was an essential point that Mehrjoei refers to the crisis conditions of those days with humor. Playing one of his most memorable roles in the character of Abbas Agha, Ezzatullah Entezami speaks one of the most frequent monologues of the film with his sharp Tehrani tone. Critics did not notice this film in its time, but it became one of the Iranian cult movies over time.

Hamoun by Dariush Mehrjoei

The most prominent work of Dariush Mehrjoei, from its first screening at the Fajr Film Festival, made such an impression on critics and serious moviegoers and found such fans that many Iranian cinephiles watch this film again and again. "Hamoun," with its complex and self-contained narrative, which was very similar to the confusions and surprises of its main character, is one of the few wholly philosophical and mystical films shown in post-revolutionary cinema. Hamoun caused a lot of commotion in society and the press in the late 70s and created a strange dichotomy that the confrontation of its supporters and opponents continues to this day. Hamoun, without a doubt, is one of the best Iranian cult movies ever.

The Glass Agency (Ajans-e Shishei) by Ebrahim Hatamikia

The Glass Agency, an Iranian drama film from 1998 that Ebrahim Hatamikia wrote and directed, is one of his best pieces as well as one of the most well-liked and contentious movies from post-revolutionary Iranian cinema. The Glass Agency takes place at a travel agency where a veteran with a gun holds hostages after failing to earn enough cash to send his wounded buddy overseas for medical care. Some of the main rifts in contemporary Iranian society are openly exposed in the movie. Both conservatives and reformists have praised the film for its subtle message of empathy for veterans and condemnation of those who take advantage of their position for political gain.

Many critics considered "The Glass Agency" to be a copy of Sidney Lumet's famous "Dog Day Afternoon." But Ebrahim Hatamikia, with his skillful understanding and recognition of the atmosphere and conditions of his society, has achieved such an Iranianized version of the idea of hostage-taking that the value and impact of his film for us are many times greater than its American counterpart. For this matter, the film is considered one of the best Iranian cult movies.

Iranian Cult Movies Are Not Limited to These Titles

It is evident that studying "Iranian cult movies" in this country's cinema requires more detailed research than a short article, which, above all, can introduce us to a kind of sociology that includes the understanding of the behavior and interests of cinema audiences. For more titles that can be considered Iranian cult movies, we recommend you watch the movies listed below:

·         Shokaran (2001)

·         About Eli (2008)

·         Marmoolak (2002)

·         Santouri (2005)

·         A Separation (2011)

[un-paso-lejos]

[whileiamdying]

El aporte de Irán a la cinematografía mundial

Por David Jáuregui Sarmiento 17 / 09 / 2019

Irán tiene una destacada tradición cinematográfica que se ha hecho famosa en el mundo por tratar, en parte, temas existenciales, por retratar dramas humanos universales, y también por su contenido político que ha llegado para incomodar a las estructuras de poder en una sociedad gobernada por un régimen autoritario.

'Relatos iraníes' es una película dirigida por Rakhshan Bani-Etemadque cuenta la historia de hombres y mujeres que desde siempre han luchado por sus derechos, como por ejemplo los cineastas, trabajadores, intelectuales, empleados del estado y trabajadores sociales con la esperanza de que la luz del amor y la esperanza pueda iluminar sus vidas.

Esta temática, sin embargo, no es solo el sustento de esta película. También trata sobre el punto central del movimiento conocido como nueva ola iraní, una avalancha de expresión en la que el cine, específicamente el cine que el régimen iraní quiere censurar, levanta los brazos para expresarse libremente desde la imagen en movimiento.

Aunque se dice que la nueva ola surgió en 1964 con la segunda película del director iraní Hajir Darioush, 'Piel de serpiente', basada en la novela 'El amante de Lady Chatterley' (1928), del escritor inglés D. H. Lawrence, se considera a los pioneros de esta movida del cine a realizadores como Abbas Kiarostami, Dariush Mehrjui, Masoud Kimiay, Nasser Taqvai, Sohrab Shahid Sales, Bahram Beizai y Parviz Kimiavi, quienes hicieron películas innovadoras de cine independiente con lenguaje poético, tonos profundamente cargados de política y filosofía social.

Desde su aparición, la nueva ola ha roto varios esquemas, como en 2006 cuando según la página especializada Cine para leer, cruzó la frontera de los 100 largometrajes y 200 series de TV en menos de 365 días, una producción que no solamente en números habla por sí sola, sino que además se hace en un contexto sociopolítico en el que el gobierno se esmera en imponer la censura sobre el arte que producen sus ciudadanos.

"En los últimos 20 años, la guerra con Irak y el régimen dictatorial han provocado la fuga de cerebros desafectos al gobierno. En tal período, el cine iraní ha sido conocido en el extranjero y logrado muchos primeros premios en los más prestigiosos festivales del mundo: Venecia, Cannes, Berlin, San Sebastián, Montreal, Toronto, Chicago. También en Locarno, Valladolid o Singapur. Lo han logrado realizadores con un estilo novedoso, análogo a los de la Nueva Ola francesa o al Nuevo Cine británico en el siglo XX", aseguró el experto en la materia, Manuel Alcalá, en su artículo 'El nuevo cine iraní bajo censura'.

Señal Colombia ha sido testigo de su revolución cinematográfica. Por nuestra pantalla han pasado películas de altísima factura conceptual y de imagen, con películas como 'Una separación' (2011), de Asghar Farhadi; 'Nadie sabe de gatos persas' (2009), de Bahman Ghobadi, y 'Una mujer camina sola de noche' (2014), de Ana Lily Amirpour.

Sin embargo, es imposible hablar de este movimiento artístico sin hacer una mención especial a Abbas Kiarostami, fallecido en 2016, y uno de los principales exponentes de la nueva ola iraní, quien entre otras distinciones recibió la Palma de Oro del Festival de Cannes por su película 'Copia certificada' (2010).

En este largometraje de Kiarostami fue vetado en su patria por el modo de vestir de la protagonista Juliette Binoche, y al director ya se le prohibía rodar en el Irán durante dos años. Tanto el arte como el cine en Irán es hoy, como en cualquier dictadura, un tema peligroso y los directores de esta ola han retado los designios del régimen con sus producciones, como una forma desde el séptimo arte de alzar la voz por todos los habitantes de su país.

[persiantvseries]

Mohammad-Reza Foroutan

Here is a little information about Mohammad-Reza Foroutan.  

He was born in Tehran, Iran in 1968. He studied at Azad University and graduated with a masters in clinical psychology. Even though he is already a renown actor, he has completed his Ph.D in Health Psychology. You might be interested to know that he actually didn’t start out his career with intentions of being an actor as a lifelong career. It was after her took a couple free acting classes that he made the decision to try out his luck.  

Goal was the first movie he was cast in. Then followed by several minor roles in different Persian TV series. When he was playing a small role in an episode of The Clue, he managed to grab the attention of Masoud Kimiay. After, he ended up being cast in the lead role in Mercedes. But through all of this, he still has a burning desire to help out his community. Not only is he a successful actor, but also a successful and dedicated Psychological Therapist.

If you would like to learn more about Mohammad-Reza Foroutan Persian Actor, head over to our website to read more about him! While you are there, you can check out any of the Persian TV shows available for FREE! Watch Mohammad-Reza Foroutan perform in a TV Series and enjoy the entertainment!

🌍 Learn More:https://www.persiantvseries.com/person/mohammad-reza-foroutan/ 📬 Email: info@persiantvseries.com      

[notesonfilm1]

José Arroyo and Richard Layne on The Deer/ Gavaznha (Masoud Kimiai, 1974)

José Arroyo and Richard Layne on The Deer/ Gavaznha (Masoud Kimiai, 1974)

    We continue with our exploration of the Iranian Cinema on offer at the Wales One World festival with a discussion of the extraordinary The Deer/ Gavaznha (1974), a metaphor for pre-revolutionary Iran’s social relations, focussing on down and outs living in a courtyard with a heroin addict and a bank robber as heroes. The influence of Italian neo-realism is everywhere present in a film that…

[thisdaynews]

Breaking:Despite warning from United States, Iranian police open fire at protesters(Video)

New Post has been published on https://thebiafrastar.com/breakingdespite-warning-from-united-states-iranian-police-open-fire-at-protestersvideo/

Breaking:Despite warning from United States, Iranian police open fire at protesters(Video)

DUBAI, United Arab Emirates —  (adsbygoogle = window.adsbygoogle || []).push();

Iranian security forces fired both live ammunition and tear gas to disperse demonstrators protesting against the Islamic Republic’s initial denial that it shot down a Ukrainian jetliner, online videos purported to show Monday.

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There was no immediate report in Iranian state-run media on the incident near Azadi, or Freedom, Square in Tehran on Sunday night after a call went up for protests there.

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Videos sent to the New York-based Center for Human Rights in Iran and later verified by the Associated Press show a crowd of demonstrators fleeing as a tear gas canister landed among them. People cough and sputter while trying to escape the fumes, with one woman calling out in Farsi: “They fired tear gas at people! Azadi Square. Death to the dictator!”

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Another video shows a woman being carried away in the aftermath as a blood trail can be seen on the ground. Those around her cry out that she has been shot by live ammunition in the leg.

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“Oh my God, she’s bleeding nonstop!” one person shouts. Another shouts: “Bandage it!”

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“Police treated people who had gathered with patience and tolerance,” Iranian media quoted Rahimi as saying. “Police did not shoot in the gatherings since broad-mindedness and restraint has been agenda of the police forces of the capital.”

However, uniformed police officers were just one arm of Iran’s security forces who were out in force for the demonstrations.

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Riot police in black uniforms and helmets gathered earlier Sunday in Vali-e Asr Square, at Tehran University and other landmarks. Revolutionary Guard members patrolled the city on motorbikes, and plainclothes security men were also out in force. People looked down as they walked briskly past police, apparently trying not to draw attention to themselves.

The Guard previously has been accused of opening fire on demonstrators during protests over government-set gasoline prices rising in November, violence that reportedly saw over 300 people killed.

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The crash of the Ukraine International Airline early on Wednesday killed all 176 people on board, mostly Iranians and Iranian-Canadians. After pointing to a technical failure and insisting for three days that the Iranian armed forces were not to blame, authorities on Saturday admitted accidentally shooting it down in the face of mounting evidence and accusations by Western leaders.

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Iran downed the flight as it braced for possible American retaliation after firing ballistic missiles at two bases in Iraq housing U.S. forces earlier on Wednesday. The missile attack, which caused no casualties, was a response to the killing of Gen. Qassem Soleimani, Iran’s top general, in a U.S. airstrike in Baghdad. But no retaliation came.

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Iranians have expressed anger over the downing of the plane and the misleading explanations from senior officials in the wake of the tragedy. They are also mourning the dead, which included many young people who were studying abroad.

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At earlier protests Saturday, students in Tehran shouted: “They are lying that our enemy is America! Our enemy is right here!”

Javad Kashi, a professor of politics at Tehran Allameh University, wrote online that people should be allowed to express their anger in public protests. “Buckled under the pressure of humiliation and being ignored, people poured into the streets with so much anger,” he wrote. “Let them cry as much as they want.”

There’s also been a cultural outpouring of grief and anger from Iran’s creative community.

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Some Iranian artists, including famed director Masoud Kimiai, withdrew from an upcoming international film festival. Two state TV hosts resigned in protest over the false reporting about the cause of the plane crash. Jan. 11, 2020

Taraneh Alidoosti, one of Iran’s most-famous actresses, posted a picture of a black square on Instagram with the caption: “We are not citizens. We are hostages. Millions of hostages.”

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Saeed Maroof, the captain of Iran’s national volleyball team, also wrote on Instagram: “I wish I could be hopeful that this was the last scene of the show of deceit and lack of wisdom of these incompetents but I still know it is not.”

He said that despite the qualification of Iran’s national team for the 2020 Tokyo Olympics after years of efforts, “there is no energy left in our sad and desperate souls to celebrate.”

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Meanwhile, another video making the rounds showed the national symbol of Iran, four crescents and a sword in the shape of a water lily flying through what appeared to be a 1980s-style video game like “Galaga.” Music chimes when it touches oil as it fires on symbols representing people, knowledge and ultimately an airplane.

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“To be continued,” the caption at the end of the clip reads.

[reorientmag]

On a hot summer’s evening, six months before the 1979 Iranian Revolution, an affluent middle-class crowd settled into cinema seats in Abadan’s Cinema Rex. Gavaznha (The Deers), a new wave film by Masoud Kimiai touching on social issues, was screening. At 8:21 pm, as viewers’ eyes were transfixed by the illuminated images piercing through the darkness of the pitch-black room, four men barred the exits and imprisoned the people from outside. Dousing the cinema with petrol, they set the place alight, burning everyone within alive. According to various reports, the fire department – only 100 metres away – failed to respond in time.

Read the full article on REORIENT

[thetehrantimes]

Farshad Alekhamis - Masoud Kimiai - 2016 (Marker and Acrylic and canvas - 30 x 30 cm) - Forough - 2016 (Marker and Acrylic and canvas - 100 x 100 cm) www.THETEHRANTIMES.com

[itsfinancethings]

(DUBAI, United Arab Emirates) — Iranian police and security forces fired both live ammunition and tear gas to disperse demonstrators protesting against the Islamic Republic’s initial denial that it shot down a Ukrainian jetliner, online videos purported to show Monday.

There was no immediate report in Iranian state-run media on the incident near Azadi, or Freedom, Square in Tehran on Sunday night after a call went up for protests there. However, international rights groups already have called on Iran to allow people to protest peacefully as allowed by the country’s constitution.

“After successive national traumas in a short time period, people should be allowed to safely grieve and demand accountability,” said Hadi Ghaemi, the executive director of the New York-based Center for Human Rights in Iran. “Iranians shouldn’t have to risk their lives to exercise their constitutional right to peaceful assembly.”

Videos sent to the center and later verified by The Associated Press show a crowd of demonstrators fleeing as a tear gas canister landed among them. People cough and sputter while trying to escape the fumes, with one woman calling out in Farsi: “They fired tear gas at people! Azadi Square. Death to the dictator!”

Another video shows a woman being carried away in the aftermath as a blood trail can be seen on the ground. Those around her cry out that she has been shot by live ammunition in the leg.

“Oh my God, she’s bleeding nonstop!” one person shouts. Another shouts: “Bandage it!”

Photos and video after the incident show pools of blood on the sidewalk.

Riot police in black uniforms and helmets gathered earlier Sunday in Vali-e Asr Square, at Tehran University and other landmarks. Revolutionary Guard members patrolled the city on motorbikes, and plainclothes security men were also out in force. People looked down as they walked briskly past police, apparently trying not to draw attention to themselves.

The crash of the Ukraine International Airline early on Wednesday killed all 176 people on board, mostly Iranians and Iranian-Canadians. After pointing to a technical failure and insisting for three days that the Iranian armed forces were not to blame, authorities on Saturday admitted accidentally shooting it down in the face of mounting evidence and accusations by Western leaders.

Iran downed the flight as it braced for possible American retaliation after firing ballistic missiles at two bases in Iraq housing U.S. forces earlier on Wednesday. The missile attack, which caused no casualties, was a response to the killing of Gen. Qassem Soleimani, Iran’s top general, in a U.S. airstrike in Baghdad. But no retaliation came.

Iranians have expressed anger over the downing of the plane and the misleading explanations from senior officials in the wake of the tragedy. They are also mourning the dead, which included many young people who were studying abroad.

“Even talking about it makes my heart beat faster and makes me sad,” said Zahra Razeghi, a Tehran resident not taking part in demonstrations who spoke earlier Sunday to the AP. “I feel ashamed when I think about their families.”

“The denial and covering up the truth over the past three days greatly added to the suffering and pain of the families, and me,” she added.

Another individual, who identified himself only as Saeed, said Iran’s largely state-run media had concealed the cause of the crash for “political reasons.”

“Later developments changed the game, and they had to tell the truth,” he said.

Some Iranian artists, including famed director Masoud Kimiai, withdrew from an upcoming international film festival. Two state TV hosts resigned in protest over the false reporting about the cause of the plane crash.

President Donald Trump, who has expressed support for past waves of anti-government demonstrations in Iran, addressed the country’s leaders in a tweet, saying “DO NOT KILL YOUR PROTESTERS.” He later tweeted the same message again in Farsi.

“The World is watching. More importantly, the USA is watching,” he tweeted.

Iranians demonstrated in November after the government hiked gas prices, holding large protests across the nation. The government shut down internet access for days, making it difficult to gauge the scale of the protests and the subsequent crackdown. Amnesty International later said more than 300 people were killed.

A candlelight ceremony late Saturday in Tehran turned into a protest, with hundreds of people chanting against the country’s leaders — including Supreme Leader Ayatollah Ali Khamenei — and police dispersing them with tear gas. Protests were also held in the city of Isfahan and elsewhere.

Police briefly detained the British ambassador to Iran, Rob Macaire, who said he went to the vigil without knowing it would turn into a protest.

“Can confirm I wasn’t taking part in any demonstrations!” he tweeted. “Went to an event advertised as a vigil for victims of #PS752 tragedy. Normal to want to pay respects — some of victims were British. I left after 5 mins, when some started chanting.”

He said he was arrested 30 minutes after leaving the area.

Britain said its envoy was detained “without grounds or explanation” and in “flagrant violation of international law.”

Iran’s Deputy Foreign Minister Abbas Araghchi later tweeted that Macaire was arrested “as an unknown foreigner in an illegal gathering.”

Araghchi said when police informed him that a man was arrested who claimed to be the British ambassador, he didn’t believe them. But he said that once he spoke to Macaire by phone, he realized it was him, and that the ambassador was freed 15 minutes later.

Iran’s Foreign Ministry later summoned the British ambassador over his ”illegal and inappropriate presence” at the protest, it said on its Telegram channel.

Alaeddin Boroujerdi, a member of Iran’s parliamentary committee on national security and foreign policy, accused the ambassador of organizing protests and called for his expulsion. Dozens of hard-liners later gathered outside the British Embassy, chanting “Death to England.” They also called for the ambassador to be expelled and the embassy to be closed.

[biofunmy]

Defying police, Iranians protest over plane shootdown

DUBAI, United Arab Emirates — Iranian demonstrators defied a heavy police presence Sunday night to protest their country’s days of denials that it shot down a Ukrainian passenger plane carrying 176 people, the latest unrest to roil the capital amid soaring tensions with the United States.

Videos posted online showed protesters shouting anti-government slogans and moving through subway stations and sidewalks, many near Azadi, or Freedom, Square after an earlier call for people to demonstrate there. Other videos suggested similar protests were taking place in other Iranian cities.

Riot police in black uniforms and helmets earlier massed in Vali-e Asr Square, at Tehran University and other landmarks. Revolutionary Guard members patrolled the city on motorbikes, and plainclothes security men were also out in force. People looked down as they walked briskly past police, hoping not to draw attention to themselves.

The plane crash early Wednesday killed everyone on board, mostly Iranians and Iranian-Canadians. After initially pointing to a technical failure and insisting the armed forces were not to blame, authorities on Saturday admitted to accidentally shooting it down in the face of mounting evidence and accusations by Western leaders.

Iran downed the flight as it braced for possible American retaliation after firing ballistic missiles at two bases in Iraq housing U.S. forces. The missile attack, which caused no casualties, was a response to the killing of Gen. Qassem Soleimani, Iran’s top general, in a U.S. airstrike in Baghdad. But no retaliation came.

Iranians have expressed anger over the downing of the plane and the misleading explanations from senior officials in the wake of the tragedy. They are also mourning the dead, which included many young people who were studying abroad.

“Even talking about it makes my heart beat faster and makes me sad,” said Zahra Razeghi, a Tehran resident. “I feel ashamed when I think about their families.”

“The denial and covering up the truth over the past three days greatly added to the suffering and pain of the families, and me,” she added.

Another individual, who identified himself only as Saeed, said Iran’s largely state-run media had concealed the cause of the crash for “political reasons.”

“Later developments changed the game, and they had to tell the truth,” he said.

Earlier Sunday, hundreds of students gathered at Tehran’s Shahid Beheshti University to mourn the victims and protest against authorities for concealing the cause of the crash, the semiofficial ISNA news agency reported.

Bahareh Arvin, a reformist member of the Tehran City Council, took to social media to say she was resigning in protest at the government’s lies and corruption. “With the current mechanism, there is no hope of reform,” she said.

Some Iranian artists, including famed director Masoud Kimiai, withdrew from an upcoming international film festival. Two state TV hosts resigned in protest over the false reporting about the cause of the plane crash.

President Donald Trump, who has expressed support for past waves of anti-government demonstrations in Iran, addressed the country’s leaders in a tweet, saying “DO NOT KILL YOUR PROTESTERS.”

“The World is watching. More importantly, the USA is watching,” he tweeted.

Iranians took to the streets in November after the government hiked gas prices, holding large protests in several cities. The government shut down internet access for days, making it difficult to gauge the scale of the protests and the subsequent crackdown. Amnesty International later said more than 300 people were killed.

A candlelight ceremony late Saturday in Tehran turned into a protest, with hundreds of people chanting against the country’s leaders — including Supreme Leader Ayatollah Ali Khamenei — and police dispersing them with tear gas. Protests were also held in the city of Isfahan and elsewhere.

Police briefly detained the British ambassador to Iran, Rob Macaire, who said he went to the vigil without knowing it would turn into a protest.

“Can confirm I wasn’t taking part in any demonstrations!” he tweeted. “Went to an event advertised as a vigil for victims of #PS752 tragedy. Normal to want to pay respects — some of victims were British. I left after 5 mins, when some started chanting.”

He said he was arrested 30 minutes after leaving the area.

Britain said its envoy was detained “without grounds or explanation” and in “flagrant violation of international law.”

Iran’s Deputy Foreign Minister Abbas Araghchi later tweeted that Macaire was arrested “as an unknown foreigner in an illegal gathering.”

Araghchi said when police informed him that a man was arrested who claimed to be the British ambassador, he didn’t believe them. But he said that once he spoke to Macaire by phone, he realized it was him, and that the ambassador was freed 15 minutes later.

Iran’s Foreign Ministry later summoned the British ambassador over his ”illegal and inappropriate presence” at the protest, it said on its Telegram channel.

Alaeddin Boroujerdi, a member of Iran’s parliamentary committee on national security and foreign policy, accused the ambassador of organizing protests and called for his expulsion. Dozens of hard-liners later gathered outside the British Embassy, chanting “Death to England.” They also called for the ambassador to be expelled and the embassy to be closed.

Iranian media, meanwhile, focused on the admission of responsibility for the crash, with several newspapers calling for those responsible to apologize and resign.

The hard-line daily Vatan-e Emrouz bore the front-page headline “A sky full of sadness,” while the Hamshahri daily went with “Shame,” and the IRAN daily said “Unforgivable.”

Mehdi Karroubi, an opposition activist under house arrest, lashed out at Khamenei himself, saying that as commander in chief he was “directly responsible.”

“If you were aware and you let military and security authorities deceive people, then there is no doubt you lack the attributes of constitutional leadership,” he said in a statement.

Criticism of the supreme leader is punishable by up to two years in prison.

Tensions with the United States eased after the ballistic missile attack, when Trump declined to respond and welcomed Iran’s apparent decision to stand down.

The emir of Qatar, Sheikh Tamim bin Hamad Al Thani, met with Iranian President Hassan Rouhani and other officials Sunday in Tehran. Qatar has warm relations with the U.S. and Iran.

Syrian Prime Minister Imad Khamis was also leading a high-level delegation to Iran, including the defense and foreign ministers. Syrian state media described it as an “important visit” in light of recent events, without elaborating. Iran is a key ally of Syrian President Bashar Assad in his country’s civil war, and Soleimani had mobilized militias and coordinated military aid.

Pakistan’s Foreign Minister Shah Mahmood Qureshi was also traveling to Iran, with plans to visit Saudi Arabia the following day. And Japanese Prime Minister Shinzo Abe was in Saudi Arabia for talks with King Salman as part of a tour of oil-producing Gulf Arab states aimed at promoting peace.

Sahred From Source link World News

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[nofomoartworld]

Artist Recreates the Deadly Movie Theater That Sparked the 1979 Iranian Revolution

If you visit Narrative Gallery in London this month, you might be surprised to find yourself inside the Cinema Rex, a movie theatre in southern Iran which was set ablaze in 1978. Complete with vintage furniture and carpet on the floors and walls, the recreated space is an immersive installation by Iranian artist Mahmoud Bakhshi paying tribute to the fire, he says, as part of a "sequence of tragic events and socio-political traumas that strongly impacted the Iranian psyche." Killing all 400 people inside, the Cinema Rex fire is widely believed to have triggered the 1979 Iranian revolution.

The "sequence of events" Bakhshi refers to is not only this pivotal moment in Iranian history, but the country's 1953 coup, which happened 25 years before the fire, but on the same date: August 19. The events also occurred in the same place: Abadan, which the artist describes as "a center of oil production in the country that was controlled by British Petroleum until it was nationalized by the Iranian government. The 1953 coup was organized to reverse this nationalization." Placing these two moments in Iranian history side by side gives the exhibition its name: The Unity of Time and Place. "I'm investigating the effect these occurrences had on art… the responsibility of an artist, and how we can continue making engaged art in the aftermath of such events," Bakhshi tells Creators.

Mahmoud Bakhshi in his studio, © Pooyan Jalilvand, courtesy of the artist and Pooyan Jalilvand.

The Cinema Rex fire is particularly meaningful when looking at Iranian history from an artist's perspective, because the incident occurred during a screening of "probably one of the most important artworks in contemporary Iran," according to Bakhshi. He's referring to The Deers, a politically charged film focusing on inequalities and social divisions under the rule of the Shah in Iran. According to Bakhshi, it "propagated violence and invited the audience to direct violent action against the establishment."

The significance of this film, today regarded as an Iranian cult classic, led the artist to interview its director, Masoud Kimiai, and video footage of his conversation with the filmmaker is projected as part of the installation. Other projections include archival footage relating to the events of 1953 and 1978, designed to inspire viewers to reflect on their time and place and the role of art in society. In addition to this, Bakashi's goal is to "share my questions about how to deal with sometimes tragic consequences of what we do." Is this a piece he'd like to share in Iran as well as London? "I guess we could try to show it in Iran," he says. "I'd be quite curious to see the reaction of people."

Mahmoud Bakhshi, The Unity of Time and Place, 2017 (detail), copyright the artist, courtesy of the artist and narrative projects, London.

Mahmoud Bakhshi, The Unity of Time and Place, 2017 (detail), copyright the artist, courtesy of the artist and narrative projects, London.

Mahmoud Bakhshi's studio, BON-GAH, is a warehouse space just outside of Tehran made up of artist studios, an exhibition space, and an art book publishing project. You can see The Unity of Time and Place at Narrative Projects Gallery in London until March 11, 2017.

Related: 

[Exclusive] Visualizing 36 Years of Iranian Literary Censorship How "Young Persian Artists" Heralds a New Wave of Iranian Art A Graphic Novel Illustrates Cybersecurity, Gender, and Sexuality in Contemporary Iran

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[un-paso-lejos]

Happy Birthday to the One and Only

Massoud Kimiai

[whileiamdying]

El aporte de Irán a la cinematografía mundial

Por David Jáuregui Sarmiento 17/09/2019

Irán tiene una destacada tradición cinematográfica que se ha hecho famosa en el mundo por tratar, en parte, temas existenciales, por retratar dramas humanos universales, y también por su contenido político que ha llegado para incomodar a las estructuras de poder en una sociedad gobernada por un régimen autoritario.

'Relatos iraníes' es una película dirigida por Rakhshan Bani-Etemad que cuenta la historia de hombres y mujeres que desde siempre han luchado por sus derechos, como por ejemplo los cineastas, trabajadores, intelectuales, empleados del estado y trabajadores sociales con la esperanza de que la luz del amor y la esperanza pueda iluminar sus vidas.

Esta temática, sin embargo, no es solo el sustento de esta película. También trata sobre el punto central del movimiento conocido como nueva ola iraní, una avalancha de expresión en la que el cine, específicamente el cine que el régimen iraní quiere censurar, levanta los brazos para expresarse libremente desde la imagen en movimiento.

Aunque se dice que la nueva ola surgió en 1964 con la segunda película del director iraní Hajir Darioush, 'Piel de serpiente', basada en la novela 'El amante de Lady Chatterley' (1928), del escritor inglés D. H. Lawrence, se considera a los pioneros de esta movida del cine a realizadores como Abbas Kiarostami, Dariush Mehrjui, Masoud Kimiay, Nasser Taqvai, Sohrab Shahid Sales, Bahram Beizai y Parviz Kimiavi, quienes hicieron películas innovadoras de cine independiente con lenguaje poético, tonos profundamente cargados de política y filosofía social.

Imagen de la película 'Relatos iraníes'

Desde su aparición, la nueva ola ha roto varios esquemas, como en 2006 cuando según la página especializada Cine para leer, cruzó la frontera de los 100 largometrajes y 200 series de TV en menos de 365 días, una producción que no solamente en números habla por sí sola, sino que además se hace en un contexto sociopolítico en el que el gobierno se esmera en imponer la censura sobre el arte que producen sus ciudadanos.

"En los últimos 20 años, la guerra con Irak y el régimen dictatorial han provocado la fuga de cerebros desafectos al gobierno. En tal período, el cine iraní ha sido conocido en el extranjero y logrado muchos primeros premios en los más prestigiosos festivales del mundo: Venecia, Cannes, Berlin, San Sebastián, Montreal, Toronto, Chicago. También en Locarno, Valladolid o Singapur. Lo han logrado realizadores con un estilo novedoso, análogo a los de la Nueva Ola francesa o al Nuevo Cine británico en el siglo XX", aseguró el experto en la materia, Manuel Alcalá, en su artículo 'El nuevo cine iraní bajo censura'.

Imagen de la película 'Una mujer camina sola de noche'

Señal Colombia ha sido testigo de su revolución cinematográfica. Por nuestra pantalla han pasado películas de altísima factura conceptual y de imagen, con películas como 'Una separación' (2011), de Asghar Farhadi; 'Nadie sabe de gatos persas' (2009), de Bahman Ghobadi, y 'Una mujer camina sola de noche' (2014), de Ana Lily Amirpour.

Sin embargo, es imposible hablar de este movimiento artístico sin hacer una mención especial a Abbas Kiarostami, fallecido en 2016, y uno de los principales exponentes de la nueva ola iraní, quien entre otras distinciones recibió la Palma de Oro del Festival de Cannes por su película 'Copia certificada' (2010).

Imagen de la película 'Copia certificada' de Abbas Kiarostami

En este largometraje de Kiarostami fue vetado en su patria por el modo de vestir de la protagonista Juliette Binoche, y al director ya se le prohibía rodar en el Irán durante dos años. Tanto el arte como el cine en Irán es hoy, como en cualquier dictadura, un tema peligroso y los directores de esta ola han retado los designios del régimen con sus producciones, como una forma desde el séptimo arte de alzar la voz por todos los habitantes de su país.

[undertreeshadows]

Masoud Kimiai, The Deers, 1974

[itsfinancethings]

January 13, 2020 at 02:20AM

(DUBAI, United Arab Emirates) — Iranian police and security forces fired both live ammunition and tear gas to disperse demonstrators protesting against the Islamic Republic’s initial denial that it shot down a Ukrainian jetliner, online videos purported to show Monday.

There was no immediate report in Iranian state-run media on the incident near Azadi, or Freedom, Square in Tehran on Sunday night after a call went up for protests there. However, international rights groups already have called on Iran to allow people to protest peacefully as allowed by the country’s constitution.

“After successive national traumas in a short time period, people should be allowed to safely grieve and demand accountability,” said Hadi Ghaemi, the executive director of the New York-based Center for Human Rights in Iran. “Iranians shouldn’t have to risk their lives to exercise their constitutional right to peaceful assembly.”

Videos sent to the center and later verified by The Associated Press show a crowd of demonstrators fleeing as a tear gas canister landed among them. People cough and sputter while trying to escape the fumes, with one woman calling out in Farsi: “They fired tear gas at people! Azadi Square. Death to the dictator!”

Another video shows a woman being carried away in the aftermath as a blood trail can be seen on the ground. Those around her cry out that she has been shot by live ammunition in the leg.

“Oh my God, she’s bleeding nonstop!” one person shouts. Another shouts: “Bandage it!”

Photos and video after the incident show pools of blood on the sidewalk.

Riot police in black uniforms and helmets gathered earlier Sunday in Vali-e Asr Square, at Tehran University and other landmarks. Revolutionary Guard members patrolled the city on motorbikes, and plainclothes security men were also out in force. People looked down as they walked briskly past police, apparently trying not to draw attention to themselves.

The crash of the Ukraine International Airline early on Wednesday killed all 176 people on board, mostly Iranians and Iranian-Canadians. After pointing to a technical failure and insisting for three days that the Iranian armed forces were not to blame, authorities on Saturday admitted accidentally shooting it down in the face of mounting evidence and accusations by Western leaders.

Iran downed the flight as it braced for possible American retaliation after firing ballistic missiles at two bases in Iraq housing U.S. forces earlier on Wednesday. The missile attack, which caused no casualties, was a response to the killing of Gen. Qassem Soleimani, Iran’s top general, in a U.S. airstrike in Baghdad. But no retaliation came.

Iranians have expressed anger over the downing of the plane and the misleading explanations from senior officials in the wake of the tragedy. They are also mourning the dead, which included many young people who were studying abroad.

“Even talking about it makes my heart beat faster and makes me sad,” said Zahra Razeghi, a Tehran resident not taking part in demonstrations who spoke earlier Sunday to the AP. “I feel ashamed when I think about their families.”

“The denial and covering up the truth over the past three days greatly added to the suffering and pain of the families, and me,” she added.

Another individual, who identified himself only as Saeed, said Iran’s largely state-run media had concealed the cause of the crash for “political reasons.”

“Later developments changed the game, and they had to tell the truth,” he said.

Some Iranian artists, including famed director Masoud Kimiai, withdrew from an upcoming international film festival. Two state TV hosts resigned in protest over the false reporting about the cause of the plane crash.

President Donald Trump, who has expressed support for past waves of anti-government demonstrations in Iran, addressed the country’s leaders in a tweet, saying “DO NOT KILL YOUR PROTESTERS.” He later tweeted the same message again in Farsi.

“The World is watching. More importantly, the USA is watching,” he tweeted.

Iranians demonstrated in November after the government hiked gas prices, holding large protests across the nation. The government shut down internet access for days, making it difficult to gauge the scale of the protests and the subsequent crackdown. Amnesty International later said more than 300 people were killed.

A candlelight ceremony late Saturday in Tehran turned into a protest, with hundreds of people chanting against the country’s leaders — including Supreme Leader Ayatollah Ali Khamenei — and police dispersing them with tear gas. Protests were also held in the city of Isfahan and elsewhere.

Police briefly detained the British ambassador to Iran, Rob Macaire, who said he went to the vigil without knowing it would turn into a protest.

“Can confirm I wasn’t taking part in any demonstrations!” he tweeted. “Went to an event advertised as a vigil for victims of #PS752 tragedy. Normal to want to pay respects — some of victims were British. I left after 5 mins, when some started chanting.”

He said he was arrested 30 minutes after leaving the area.

Britain said its envoy was detained “without grounds or explanation” and in “flagrant violation of international law.”

Iran’s Deputy Foreign Minister Abbas Araghchi later tweeted that Macaire was arrested “as an unknown foreigner in an illegal gathering.”

Araghchi said when police informed him that a man was arrested who claimed to be the British ambassador, he didn’t believe them. But he said that once he spoke to Macaire by phone, he realized it was him, and that the ambassador was freed 15 minutes later.

Iran’s Foreign Ministry later summoned the British ambassador over his ”illegal and inappropriate presence” at the protest, it said on its Telegram channel.

Alaeddin Boroujerdi, a member of Iran’s parliamentary committee on national security and foreign policy, accused the ambassador of organizing protests and called for his expulsion. Dozens of hard-liners later gathered outside the British Embassy, chanting “Death to England.” They also called for the ambassador to be expelled and the embassy to be closed.