but, what is it with iran? why is the film industry there flourishing so spectacularly over the past ???? years. why not other central asian countries for example?what are the conditions that have created this sort of hothouse of film making? or is it that for some reason over here evrything else is getting ignored?
― ambrose (ambrose), Tuesday, 20 May 2003 14:14 (fifteen years ago) Permalink
There are major films from other Central Asian republics--in fact a series of films from the former Soviet Central Asian republics was in NY recently and is now in Chicago--but I don't believe there are many films produced in those countries overall. During the Soviet era Kazakhstan was actually a regional center of film production but I suspect much of the financing and maybe even some of the technology went back to Moscow and St. Petersburg in the early 1990s. But there are film programs at the universities, cinema clubs, and so on there.
Iran produces quite a few films I believe, but many if not most of them are not too dissimilar from the commercial fare produced elsewhere in the Middle East and the subcontinent. It's rare that people outside of Iran get to see such films, although the local Persian market has a bunch of them. Many of the "art" films that premiere to acclaim in Western festivals are hardly seen at all in their native Iran; Kiarostami's Taste of Cherry had only one or two official screenings I believe, and I don't think his recent 10 has fared much better. Mohsen Makhmalbaf (Samira's dad) is a higher-profile figure there but still, of a number of Iranian immigrants I've met in Chicago, only one had even heard of him.
Anyway, as for Samira, her dad founded the "Makhmalbaf Film House" some years ago to train his family and friends to make their own films. He's collaborated on the screenplays of films by Samira and a film by his wife called The Day I Became a Woman. Mohsen's an interesting character; like Lars von Trier it seems important to him to establish a "brand" and also like V.T. his films are wildly divergent in their styles. His daughter adheres more closely to the mode of documentary realism that's become an accepted Iranian style after the films of Kiarostami. I liked The Apple and Blackboards a lot (The Apple especially) and am looking forward to this one. Supposedly there is "Palme d'or buzz" already.
― amateurist (amateurist), Tuesday, 20 May 2003 15:42 (fifteen years ago) Permalink
― amateurist (amateurist), Tuesday, 20 May 2003 15:55 (fifteen years ago) Permalink
― amateurist (amateurist), Tuesday, 20 May 2003 15:57 (fifteen years ago) Permalink
― amateurist (amateurist), Tuesday, 20 May 2003 16:04 (fifteen years ago) Permalink
― Pete (Pete), Wednesday, 21 May 2003 09:39 (fifteen years ago) Permalink
but i guess the only other of his i've seen was a moment of innocence, which i found quietly whimsical, with a nod to godard or something.
blablablblabla why am i even posting on this thread?
― brian badword (badwords), Thursday, 22 May 2003 05:48 (fifteen years ago) Permalink
― brian badword (badwords), Thursday, 22 May 2003 05:49 (fifteen years ago) Permalink
― brian badword (badwords), Thursday, 22 May 2003 05:50 (fifteen years ago) Permalink
I suppose this is the kind of thing that Kiarostami is trying to deal with when he includes himself (or a surrogate) in his films--the odd relationship between Westernized, well-off artistic elites from Teheran making films about uneducated, impoverished people in remote areas of Iran.
― amateurist (amateurist), Saturday, 24 May 2003 02:58 (fifteen years ago) Permalink
― Ward Fowler, Friday, 11 May 2018 20:27 (one year ago) Permalink
― xyzzzz__, Friday, 18 May 2018 13:21 (one year ago) Permalink