Iran Cinematography Part III

By | December 16, 2021

The flourishing of authors and works linked to the nouvelle vague movement, which coincided with the period of greatest development of the national film industry (in 1972 90 films were produced, about 400 cinemas were active and spectators exceeded 100 million), nevertheless represented a marginal phenomenon in the context of Iranian production, which otherwise remained dominated by genre films aimed at a popular audience. But the galloping inflation that weighed on the country did not fail to make its negative effects felt also on the film industry which, starting from 1976, began to show serious signs of crisis, drastically reducing production in favor of a new increase in production. distribution of foreign films. The authors of the nouvelle vague (already largely organized into an autonomous cooperative, after the resignation from the single union of show business workers resigned by many in 1974 in protest against the government’s cultural policy) tried not to fail in their commitment, as evidenced by works such as Bāgh-e sangi (1976, The garden of stones) by Parviz Kimiavi, the story of an old fanatic who creates a garden of stones to offer to God, and Khāk-e sar be-mohr (1977, La terra sealed) by the newcomer Marva Nabili, a realist drama about the life of a young peasant woman in a village of strict Muslim faith. It was in this period, moreover, that a personality emerged destined to have an important role in Iranian cinema: after the resignation from the single union of show business workers resigned by many in 1974 as a sign of protest against the government’s cultural policy) they tried not to fail in their commitment, as evidenced by works such as Bāgh-e sangi (1976, The garden of stones) by Parviz Kimiavi, the story of an old fanatic who creates a garden of stones to offer to God, and Khāk-e sar be-mohr (1977, La terra sigata) by newcomer Marva Nabili, a realistic drama about the life of a young farmer in a village of strict Muslim faith. For Iran 2018, please check ethnicityology.com.

It was in this period, moreover, that a personality emerged destined to have an important role in Iranian cinema: after the resignation from the single union of show business workers resigned by many in 1974 as a sign of protest against the government’s cultural policy) they tried not to fail in their commitment, as evidenced by works such as Bāgh-e sangi (1976, The garden of stones) by Parviz Kimiavi, the story of an old fanatic who creates a garden of stones to offer to God, and Khāk-e sar be-mohr (1977, La terra sigata) by newcomer Marva Nabili, a realistic drama about the life of a young farmer in a village of strict Muslim faith. It was in this period, moreover, that a personality emerged destined to have an important role in Iranian cinema: as evidenced by works such as Bāgh-e sangi (1976, The garden of stones) by Parviz Kimiavi, the story of an old fanatic who creates a garden of stones to offer to God, and Khāk-e sar be-mohr (1977, The sealed earth) by the newcomer Marva Nabili, a realistic drama about the life of a young peasant woman in a village of strict Muslim faith. It was in this period, moreover, that a personality emerged destined to have an important role in Iranian cinema: as evidenced by works such as Bāgh-e sangi (1976, The garden of stones) by Parviz Kimiavi, the story of an old fanatic who creates a garden of stones to offer to God, and Khāk-e sar be-mohr (1977, The sealed earth) by the newcomer Marva Nabili, a realistic drama about the life of a young peasant woman in a village of strict Muslim faith. It was in this period, moreover, that a personality emerged destined to have an important role in Iranian cinema: Abbas Kiarostami. Initially working for the Institute for the Intellectual Development of Children and Adolescents, he was immediately noted for the realistic tension that characterized his works made with non-professional actors. His second work, Gozāresh (1977, The Report), introduced direct sound capture in Iran for the first time. But his cinema is mainly responsible for the intuition of the poetic possibilities inherent in the simple representation of the infantile universe, which characterizes his works of the Eighties (Khāne-ye dust kojāst ?, 1987, Where is my friend’s house?) and, later, the expression of a clear aesthetic of interiority based on the representation of the most intimate truth of life in films such as Namā-ye nazdik (1990; Close up), Zir-e derakhtān-e zeytun (1994; Sotto gli olive trees).

Iran Cinematography Part III