#asghar farhadi

[dolorygloria]

ABOUT ELLY | درباره الی (dir. Asghar Farhadi, 2009)

#asghar farhadi #cinema #actors #film stills #movie stills #about elly #iranian actors #iranian cinema #persian #iranian movie #taraneh alidoosti #shahab hosseini #golshifteh farahani #films #persian actors #middle eastern cinema #middle eastern

[haveyouseenthismovie-poll]

#movies #polls #a separation #2010s movies #asghar farhadi #leila hatami #payman maadi #have you seen this movie poll

[downfalldestiny]

Director Asghar Farhadi's first idea for the movie was the image of a man washing his father, who had Alzheimer's. He built the rest of the film around that scene.

A Separation (2011) is the first Iranian film to win an Oscar 🏆 !.

#hit me hard #downfalldestiny #downfall #Pain #Love #Parents #sick #mental sickness #Sickness #A Separation #2011 #Movie #Iranian movie #Asghar Farhadi #Alzheimer #Son #Father #Care #Bathroom #Taking a bath

[highvolumetal]

Shahr-e ziba , Asghar Farhadi , 2004.

#shahr-e ziba #asghar farhadi #beautiful city #taraneh alidoosti #iran #film #edit #2004

[moviemosaics]

The Salesman

directed by Asghar Farhadi, 2016

#The Salesman #Asghar Farhadi #movie mosaics #Taraneh Alidoosti #Shahab Hosseini #Babak Karimi #Sam Valipour #Farid Sajadhosseini #Mina Sadati

[kiki-de-la-petite-flaque]

A Separation, Asghar Farhadi, 2011

#Asghar Farhadi #tell it with a movie still

[whileiamdying]

Festival de Cannes 2024 – Critique Les Graines du figuier sauvage : chef-d’œuvre de rage et d’espoir

Nicolas Diolez 25 mai 2024

Il n’est plus nécessaire de faire les louanges du cinéma iranien indépendant. Avec des cinéastes tels que Jafar Panahi ou Asghar Farhadi, celui-ci a acquis ses lettres de noblesse à travers un cinéma social critique de sa propre société. De ce fait, à l’annonce de la présentation en compétition officielle au Festival de Cannes 2024 des Graines du figuier sauvage de Mohammad Rasoulof, on était curieux de voir ce qu’il avait encore à dire.

Un peu de contexte pour commencer : le cinéaste Mohammad Rasoulof a été contraint à l’exil du fait de la réalisation de ce film, Les Graines du figuier sauvage. Menacé de huit ans de prison ferme, le réalisateur a rejoint la longue liste de compatriotes artistes qui ont fui le régime théocratique dictatorial iranien (qui n’apprécie pas qu’on le critique ouvertement).

Allégorie de la société iranienne

Cette dernière, il l’instaure à l’échelle la plus réduite possible, c’est-à-dire une famille comme il en existe tant d’autres. Le père est strict et très secret sur son métier, car il travaille pour la justice ; la mère, soumise au dictat de son mari, s’occupe de la maison et de ses deux filles, sacrifiant inconsciemment sa propre existence au profit du patriarcat ; enfin les deux filles, connectées au monde par les réseaux sociaux, dynamiques et non formatées par le monde qui les entoure. Chaque membre de la famille incarne une certaine idée de la société iranienne. Tout pourrait aller dans le meilleur des mondes, sauf que la révolte des femmes en 2022 suite au décès d’une jeune femme battue à mort pour soi-disant avoir mal porté le voile, va faire basculer tout l’équilibre familial dans le chaos, le mensonge et la haine.

Redoutable récit politique

Néanmoins, Rasoulof démontre qu’il ne sait pas juste écrire, il maîtrise également la réalisation. Les plans sont sobres, mais rigoureux, tandis que le montage est précis, laissant une place prépondérante à la dynamique impitoyable des dialogues. Ces derniers sont ciselés, féroces, écrits avec la rage au ventre. Rasoulof n’est pas un réalisateur de film, il est comme un boxeur qui monte sur le ring pour déchainer toute sa haine contre le pouvoir iranien. Une haine tristement justifiée.

Bref, vous l’aurez compris, Les Graines du figuier sauvage est une œuvre colossale, écrite avec férocité, réalisée avec le plus grand soin du monde, incarnée avec le plus beau des panaches. C’est plus qu’un film, c’est un testament politique pour une société plus juste qui ne traite pas les femmes comme des objets. Pour ce film, rien que le fait d’exister est un miracle. Ce geste de cinéaste, d’artiste, de citoyen, d’homme du monde, mérite tout simplement le respect.

Les Graines du figuier sauvage n’a pour le moment pas de date de sortie en France. Retrouvez toutes nos critiques du Festival de Cannes 2024 ici.

#société iranienne #iran #Festival de Cannes 2024 #cannes 24 #Graines du figuier sauvage #Jafar Panahi #Asghar Farhadi #Mohammad Rasoulof

[lilidawnonthemoon]

A Separation by Asghar Farhadi, 2011

#movies #cinema #films #shots #iran #Iranian #2010s #cinematography #asghar farhadi #payman maadi #Leila Hatami

[gregor-samsung]

قهرمان [A Hero] (Asghar Farhadi, 2021)

#قهرمان #A Hero #Asghar Farhadi #Iran #artist #prison #jail #Cinema of Persia #Cinema of Iran #Iranian filmakers #Tehran #Mohsen Tanabandeh #Amir Jadidi #Sahar Goldoost #scandal #Fereshteh Sadr Orafaie #Sarina Farhadi #pride #charity #debt #Iranian film directors #Iranian New Wave #Middle East #money #capital punishment #selfless act #celebrity #Ghahreman #god #Shiraz

[hiddenbyleaves]

About Elly (Asghar Farhadi, 2009)

#about elly #asghar farhadi #golshifteh farahani #film #cinema #cinematography

[dolorygloria]

Beautiful City | شهر زیبا (dir. Asghar Farhadi, 2004)

#cinema #actors #film stills #movie stills #old films #2000s films #taraneh alidoosti #asghar farhadi #iranian cinema #iranian film

[peliculameticula]

About Elly, Asghar Farhadi, 2009

#asghar farhadi

[cemyafilmarsiv]

A Separation directed by Asghar Farhadi

#a separation #cinema #photography #asghar farhadi

[addictivecontradiction]

Le passé, 2013

#drama #mystery #le passé #the past #asghar farhadi #bérénice bejo #pauline burlet #ali mosaffa #lovers

[movies-tv-more]

Movie Collections & TV Show Releases for February 27, 2024

#home vide #physical media #movie collection #tokusatsu #asghar farhadi #extreme dinosaurs #fear the walking dead #film noir #i've somehow gotten stronger when i improved my farm related skills #monk #mystery science theater 3000 #orphan black #the really loud house #smallville #dvd #bluray #cover art #february 27

[whileiamdying]

Iranian Filmmakers Face Fight or Flight Amid Political Turmoil

By Nick Vivarelli

Credit: Les Films d'Ici/Berlinale

The wave of protests sparked across Iran by the death of Mahsa Amini by Iranian morality police in September came amid a banner year for Iranian cinema. 

But as 2023 kicks off, more than 500 people who have protested her death and called for justice have been killed while prominent members of the Iranian film industry were either arrested, put on trial or banned from making movies. The result being that the country’s cinematic community has largely ground to a halt. 

Which raises the question: unless something changes, how many films actually shot in Iran will be surfacing on the international festival circuit going forward?  

In 2022, Iran-based directors landed slots in all major international film festivals and won major awards. Revered auteur Jafar Panahi took the Venice Special Jury Prize for “No Bears” and Houman Seyyedi’s tragicomedy “World War III,” which was Iran’s candidate for the international Oscar, scooped two statuettes on the Lido. 

But 2023 is kicking off with only films by Iranian diaspora directors launching on the fest circuit. Case in point: native New Yorker Maryam Keshavarz’s “The Persian Version,” which bowed at Sundance. 

And the widening divide between Iran’s expat directors and Iranian filmmakers living in the country is stark at the Berlinale. 

Berlin’s Panorama section, which is titled “Films as Tools of Resistance,” is opening with Paris-based Sepideh Farsi’s feature “The Siren” which provides a timely take on the Iran-Iraq war. Incidentally, the section also features a doc by Indian director Sreemoyee Singh titled “And, Towards Happy Alleys,” which is about Panahi, who was recently released from Tehran’s Evin penitentiary after spending seven months behind bars on charges of “anti-government propaganda.”   

But the only film in this year’s Berlin selection that is by an Iran-based director is Negin Ahmadi’s doc “Dream’s Gate” which depicts an all-female Kurdish militia in Northern Syria.  

Berlin’s artistic director Carlo Chatrian says this year he actually received more submissions from Iran than ever before. But the fest’s selection committee was leery of Iranian films, many of which came from companies affiliated with the government. Why? “Because for them it’s a statement saying: ‘OK, this is not true what people abroad are saying about us,’” he said.  

Chatrian added that “at times films [from Iran] that from the outside look independent are not fully independent,” so they can still be seen as a form of government propaganda. 

In solidarity with the protests sparked by Amini’s death, the Berlinale has banned Iranian government film industry entities such as the Farabi Cinema Foundation, Iran’s national film promotion outfit which has been attending Berlin’s European Film Market with a stand for years.  

And on Feb. 18 there will be an event on the Berlinale Palast red carpet to shine a spotlight on the fest’s position against Iran’s repressive regime.  

Berlin’s executive director Mariëtte Rissenbeek pointed out that it’s bound to be more difficult these days for filmmakers in Iran, most of whom are anti-government, to make films. “They are for freedom of expression, which is exactly what the Iranian state is trying to fight right now,” she said. 

That, of course, is indeed the case.  

“Iranian cinema is now under attack in Iran,” noted “World War III” helmer Seyyedi, in an email interview from Tehran. “As a middle-aged man who is deeply involved with the present problems, I have no idea if I will really be able to start making another movie in future. We will have to wait and see what happens.” 

According to Mohammad Attebbai, head of Tehran-based sales company Iranian Independents, at the moment “Iran’s nearly 50% inflation and its severe censorship codes dissuade anyone from investing in a movie.” 

Attebbai added, “There are lots of filmmakers who, like many others in the country, believe it is impossible to keep living in Iran and are trying to immigrate.  

“They simply cannot tolerate the situation any longer, with censorship getting much worse and film production slowing down dramatically,” he said.  

Most artists at present are banned from travel outside Iran.   

Significantly, two-time Oscar winner Asghar Farhadi, Iran’s best-known director, is currently working on his new film in Los Angeles and Europe. Farhadi was at the Zurich Film Festival when protests following the death of Amini erupted. He voiced support for the protests and has returned to Iran since. 

As an Iranian diaspora director, Paris-based Farsi said she now feels a greater responsibility “to carry on the flag of making films that are relevant and have to do with Iran, though maybe not directly.”  

“I don’t know how ‘The Siren’ will travel,” she pointed out. “But for sure I would really love people in Iran to see it. 

“The end of the film has hope, and I really would like them to feel it as glow of sun for the near future of Iran. Because I’m really hoping that we will reach a victory soon.” 

#Iran #Cinema #Iranian Cinema #Asghar Farhadi #Berlinale #The Siren #Mariëtte Rissenbeek #Houman Seyyedi #Mahsa Amini #Jafar Panahi #Maryam Keshavarz #Sepideh Farsi #Mohammad Attebbai #Variety