Love Begins
Cosmic Funnies
Lauren Shippen
Game Changer & Make Some Noise
I'd rather be in outer space 🛸
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TMBGareOK. The Official They Might Be Giants tumblr
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d e v o n
Fai_Ryy
seen from United Kingdom
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@iranian-cinema-blog
Iranian actresses moodboard
“The reason I like this film is that even I, the filmmaker, get confused as to which parts were fiction and which documentary. It’s as if the film doesn’t belong to me, as if it had made itself; the main character was so strong, it was I who was being told what should be done. And when I saw the film, I realised it was not an artificial creation, but different; it increased my responsibility as a filmmaker. Cinema is no longer the panoramic experience it once was, with big budgets; cinema is -or ought to be- about analysing individual human experience, and how you can find yourself within that subjectivity. After making this film, I realised how I could identify with each of the characters, and how much of myself was in them.”
– Abbas Kiarostami, Close-Up (Nema-ye Nazdik 1990)
Iranian actress, Taraneh Alidoosti during a conference about her latest movie, The Salesman
I am very inspired by the new trend in Iranian cinema. In my opinion, it has been one positive aspect of the revolution, as it has in a way purified Iranian culture artistically by eliminating Western influences that had deeply infiltrated our culture. Before the revolution, Iranian film followed similar standards as in any commercial Western film, much of it was filled with superficiality, violence and sex. After the revolution, the government imposed severe codes; filmmakers had to reformulate their ideas, and as a result a new form of cinema was born that thrived in the midst of all the governmental censorship. These films have been successful for their humanistic, simple and universal approach. They reveal so much about Iranian culture without being overly critical.
Shirin Nehsat asked about Iranian film movement
Salaam Cinema (Mohsen Makhmalbaf, 1995)
A Moment of Innocence (1996)
Abbas Kiarostami on the set of Like Someone In Love.
Donya (2003)
Hedieh Tehrani slaying (as usual)
Iranian actress, Afsaneh Pakroo.
“If you look at the four seasons, each season brings fruit. In summer, there’s fruit, in autumn, too. Winter brings different fruit and spring, too. No mother can fill her fridge with such a variety of fruit for her children. No mother can do as much for her children as God does for His creatures. You want to refuse all that? You want to give it all up? You want to give up the taste of cherries? “
Taste of Cherry (1997) dir. Abbas Kiarostami
The Traveler (Mossafer) - [1974]
Just added to my watch list.
A grade-school-age boy, neglected by his parents, lies, cheats, and steals to accumulate enough money to afford a bus ride to a large city and a ticket to see his favorite soccer team play.
via IMDb
Children of heaven (1999)
this movie man ;’(
A Separation (2011) جدایی نادر از سیمین by Asghar Farhadi
گاو Gaav / The Cow (1969)
Today Iranian cinema is one of the most highly regarded national cinemas in the world, regularly winning festival awards and critical acclaim for films which combine remarkable artistry and social relevance. Iran: A Cinematographic Revolution chronicles how Iranian films reflected contemporaneous society and often presaged social change. It shows how mainstream commercial cinema served as a propaganda tool for both the monarchy and the fundamentalist religious regime, recounts the sporadic efforts of some filmmakers to reveal grimmer social realties, and the struggles against censorship and traditional cinematic formulas by such pioneers as Bahram Beyzai, Sohrab Shahid Saless and Parviz Kimiavi and pre- and post-Islamic revolutionary ‘new wave’ filmmakers such as Amir Naderi, Rakhshan Bani-Etemad, Dariush Mehrjui, Mohsen Makhmalbaf, Jafar Panahi, Bahman Ghobadi and Abbas Kiarostami. The documentary explores this history through a compelling blend of archival footage, excerpts from representative and landmark Iranian films, and interviews with Iranian filmmakers, film critics, film historians, and government and film industry executives. In the process, Iran: A Cinematographic Revolution reveals the changing social functions of Iranian cinema and the artistic struggle of its filmmakers.
