IRANIAN CINEMA
Briefing the Past and Present
Iranian cinema first came under international attention for its prerevolutionary art cinema known as the Iranian New Wave and more widely for its postrevolutionary cinematic movement called the New Iranian Cinema. However, Iran has had a longstanding history of cinema that began in 1900, with the introduction of film technology by the Qajar court photographer Ibrahim Khan Sani al-Saltaneh Akkasbashi. The development of cinema in Iran is inextricably linked to the development of modernity and the nation-state. The cinema in Iran was an important site where modernity (tajadud) and the nation (mellat) were respectively constructed, contested, and negotiated throughout the long 20th century and into the new millennium. After the 1979 revolution and the establishment of the Islamic Republic, new guidelines were established by the state apparatus to ensure that films produced in Iran were made according to the logic of an Islamic “system of modesty” (hejab in its broadest sense). Paradoxically, these censorship guidelines forced Iranian filmmakers to develop a new filmic grammar, which in a constant negotiation with state censors, contributed to a new visual and aural film form that is distinctive to Iranian cinema. In this way, the history of cinema in Iran can be divided into four distinct periods, from the Qajar era to the first Pahlavi period (1900–1941), the second Pahlavi era (1942–1979), the postrevolutionary era with the Islamization of Iranian cinema (1980–1988), and the emergence of the New Iranian Cinema (1990s and early 2000s). In the early 21st century, there is a subtle but visible shift away from the formal and narrative strategies of the New Iranian Cinema. It is too early at this stage to categorize the formal logic and aesthetics of this new iteration of Iranian cinema, as we are in the midst of its development, but if the New Iranian Cinema was recognizable under the sign of its master practitioner, Abbas Kiarostami (d. 2016), the new trend in Iranian cinema is perhaps under the visible influence of the two-time Oscar-winning director Asghar Farhadi.
The Revolution for filmmaking
An analysis of the recent development of Iranian Cinema should primarily mention its origins and history, especially since Iranian cinema always has been so closely linked to the political circumstances dominating the social reality. Its outset is generally accepted to have begun around 1900, when Mirza Ebrahim Khan Akkas Bashi, the official photographer of Muzaffar al-Din Shah, shot the first Iranian documentary.2 Despite this relatively late start, Iranian cinema caught up to the West and developed a lively film industry. Though, this statement has to be seen in a context which takes in consideration the fundamental factors almost always present and dominant in Iranian cinema: the political framework which of course includes censorship. As Richard Tapper states in his work, The New Iranian Cinema, "both government and religious authorities sought to control the images to be shown publicly." 'Formal censorship" began in the 1920s, when the imported films exhibiting women, sex and amusement dominated the Iranian market. In contrast to this permissive attitude, depicting the political or social reality critically in local productions was taboo. Until the Second World War "nothing worthy of being called 'national cinema"" was produced. In these decades, Iranian films were mainly remakes of foreign works, mainly Indian or Egyptian, and normally they lacked artistic quality. This genre of films is known as "Film Farsi."4 Along with the development of film comes the history of censorship, which tries to curb the freedom of expression in increasingly institutionalized manners. Indeed, in 1950 a committee for the supervision of locally produced or imported films was established. This might have contributed to the fact that in the 1950s and 1960s, next to the import of American and Indian films, only "commercial films" were famous in Iran, whose sole aim was to entertain and to fill the cash tills. In this period too, the censorship worried more about the expression of political opinions than about the demonstration of sex. However, on the edge of mainstream productions slowly evolved few other interesting and formative films. "1969 is generally agreed to mark the birth of Iranian art cinema, called the New-Wave." In the following period various films were successfully presented to international film festivals. However, from its beginning on, the evolution of Iranian cinema was constantly accompanied by a consistent religious opposition. Through the lens of many Iranian clerics, films were immoral. They denounced cinema as a tool to access corrupt western influence into Iran. This suspicion and aversion against cinema, which was deep-rooted in many Iranian clergymen found later on as well expression in the Islamic Republic. Promoters of the Islamic Revolution named cinema in the same breath as Westernization and furthermore, the Pahlavi regime. All regimes were well aware of the popularity of cinema and its power to influence masses. Earlier, the Pahlavi regime and later on, Islamic leaders seemed to recognize cinema as a vehicle to fight the opposition or the adversary.
In the early years subsequent to the revolution, cinema was primarily used for propaganda purposes, thus to spread Islamic values among the Iranian population. The first speech of Ayatollah Khomeini following his return from exile to Iran lines out his position regarding cinema:"We are not opposed to cinema ... cinema is a modern invention that ought to be used for the sake of educating the people, but as you know, it was used instead to corrupt our youth. It is the misuse of cinema that we are opposed to, a misuse caused by the treacherous policies of our rulers." The aim of the revolution and successively of the Islamic regime in terms of cultural policy was to create an "authentic cultural milieu that would recapture the dignity of Iran as a Muslim country." This goal had to be achieved through education and the consistent emphasis on Islamic morality. Thus a new national cinema which would respect and promote Islamic values of the Iranian society had to be created. First of all this intention required erasing the remainders of the Pahlavi regime. Consequently many film theaters had been destroyed or shut down during the Islamic Revolution. The theaters which managed to survive changed their usually Western names to Islamic and third world names.
Variation of ideation and filmmaking
Iranian films are often humanist social dramas that explore a seemingly minimalist storyline, but through the art of allusion, they are rich in political subtext.The tension between religion and culture, as well as conformity and individual desire, creates a riveting viewing experience.To be able to express emotions and create chemistry between the characters, Iranian filmmakers often lean on traditional elements such as a rich heritage of poetry and Sufi storytelling that combine allegory, and spiritual elements to circumvent social and cultural mores.
At times, the stories are told from a child’s perspective with the simplest of storylines. It is really a marvel how the most mundane event — returning a friend’s book, trying to buy a goldfish for Nowruz, losing a pair of shoes — turn it into a revelation of character, society and ourselves. There is an additional spark of pleasure when we recognize a Farsi word and see similarities within each other’s traditions. All this gives us a window into their world while at the same time expanding our perspectives of Iranians and their joys and struggles which often mirror our own. This is not, of course, to say that there aren’t problems. Iranian cinema is beset by issues of freedom of expression, patriarchy and towing the political and Islamic line. Women’s voices are not as well represented despite some very talented women filmmakers and actors.
Some Classic & New-age filmmakers
The three great Iranian filmmakers who put Iranian cinema on the world map include Abbas Kiarostami, Mohsen Makhmalbaf, and Jafar Panahi. Kirsoatami’s works Taste of Cherry, Through the Olive Trees, Where is the Friends’ House? are more abstract but have immense lyrical beauty, while Makhmalbaf’s films have a more philosophical feel. See The Cyclist, A Moment of Innocence, and The Silence. Panahi’s films mostly feature social and political critiques and he has had to pay a price for his views. Watch Taxi, The White Balloon, and The Circle.
Asghar Farhadi is the talented writer-director known for his award-winning films A Separation and The Salesman. His fine-tuned control over the script and the subtle shifts in perspectives of all the characters places you in their gut-wrenching moral conundrums. By evoking our empathy for all points of view, he really creates a more humanist cinema that calls for repeat viewing. Additionally, watch his earlier work About Elly and Fireworks Wednesday.
Some newer films that create riveting cinema from the most mundane storylines are Ghasam (Swear), a story of a family travelling to Mashhad to testify in court about the death of their sister and how every step of their journey leads to increasing doubt. Ide Asli (Main Idea) is the story of firms competing for tenders to win a construction contract. Takhti is the story of Iran’s most popular wrestling champion and the director who must complete the project.
Women’s role in Iranian Films
Rakhsan Banietemad often called the First Lady of Iranian cinema has many prestigious films to her name. Her daughter Baran Kowsari also features in many of her films such as Ghesse-ha (Tales), a film that revolves around the different lives and challenges of living in Iran. Tahmineh Milani is a well know writer-director who often focuses a critical lens on the lives of women in Iran. See Do Zan ( Two Women) which looks at the diverging ways tradition forces two friends into different lives, and Vakonesh Panjom (The Fifth Reaction), a story about a widow who’s fight for the custody of her children must endure legal, patriarchal and social injustices along the way.
Recognition in Global Stages
While Iranian films are internationally acclaimed at the Oscars, Cannes and Berlin film festivals—earlier only a select few could glimpse these gems. But with online offerings, Iranian cinema is now only a click away.
Yet what's most interesting about Iranian cinema is that it exists in a peculiar paradox of tension between the political and the artistic. All films are subject to strict censorship laws that must adhere to the Islamic Republic’s moral, social and religious codes. Women must be shown in a constant state of hijab, and physical intimacy is verboten.
But regardless of these restrictions, Iranian filmmakers do not shy away from exploring sensitive and nuanced social, cultural issues of all kinds; their remarkable ingenuity and creativity allows them to flourish despite the obstacles.
The struggle for INDEPENDENT filmmaking
After the Iranian revolution, filmmakers experienced more restrictions. Since the mid-1980s, Iran's policy on film censorship has been changed in order to promote domestic film production: the strict censorship eased after December 1987. Old directors resurfaced and new ones emerged. However, the application of the rules is often inconsistent. Several films have been refused release inside Iran, but have been given export permits to enter international film festivals. Even here, the censorship is inconsistent: May Lady by Rakhshan Bani-Etemad (1998) got through but her contribution to Stories of Kish (1999) did not. All of Jafar Panahi's films have been banned from public theaters in Iran. Offside was relegated to "a guest slot" at the International Fajr Film Festival. Several of Mohsen Makhmalbaf's films are also banned in Iran. For example, Time of Love and The night of Zaiandeh-rood were banned for dealing with physical love and for raising doubts about the revolution. In 2001, feminist filmmaker Tahmineh Milani who made The Hidden Half was jailed because her movie was presumed anti-revolution (against the 1979 Islamic revolution). Many Iranian and international artists and filmmakers demanded her release. After 8 days of Imprisonment, Eventually President Khatami and the Minister of Culture were able to secure her release. In Nargess, Rakhshan Bani-Etemad who is a pioneer among female Iranian film directors, pushes censorship codes to the limits, questioning the morals of society, showing desperate people overwhelmed by social conditions and a couple living together without being married. Abbas Kiarostami was significantly acclaimed in Europe but the Islamic government has refused screening of his films in his own country. Kiarostami's films have been banned in his country for more than 10 years. They are only accessible there through unauthorized DVDs and private screenings. Kiarostami is uncertain what the government dislikes about his films, saying "I think they don't understand my films and so they prevent them being shown just in case there is a message they don't want to get out."
What critics say…
Some critics now rank Iran as the world's most important national cinema, artistically, with a significance that invites comparison to Italian neorealism and similar movements in past decades. A range of international film festivals has honored Iranian cinema in the last twenty years. World-renowned filmmakers along with many film critics from around the world have praised Iranian cinema as one of the world's most important artistic cinemas.
- Shruti Nag
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