Keyword : Iranian Cinema
Historical analysis of women and the tradition of veiling (the chador) across Egyptian and Iranian film and culture.
Writer Mojgan Eyvazi looks closely at two films by Bahram Beyzai and Tahmine Milani as contrasting viewpoints on the representation of women.
Using Hamid Naficy's influential book An Accented Cinema, Ramin S. Khanjani explores the political, social and stylistic elements of Iranian exile director Reza Allamezadeh's two films, The Guests of Hotel Astoria and A Few Simple Sentences.
An analysis of the Iranian film ??The Neigbour??.
An interview with Iranian auteur Jafar Panahi.
Interview with Iranian director of the dance film Forbidden Sun Dance, Lila Ghobady, and its subject, dance choreographer Aram Bayat.
An analysis of Samira Makhmalbaf's latest and controversial film, Two-Legged Horse, which incorporates Makhmalbaf's own responses at the Q & A following the world premiere of her film at the Toronto International Film Festival.
An analysis of the politicized use of food as a means of generating taboo forms of sensuousness in Iranian cinema.
An assessment of Baizai's troubles in recent years to consistently get films made.
An interview with Kurdish-Iranian director Bahman Ghobadi.
An interview with Abbas Kiarostami detailing his latest film, Shirin.
An in-depth analysis of the representation of women in contemporary Iranian cinema.
This essay examines Mohsen Makhmalbaf's intertextual use of Rumi's famous poem The Three Fish in his early third phase film, Time of Love.
A somewhat irreverent, insightful analysis of two recent female-centered Iranian documentaries, The Ladies Room and Iranian Journey.
A look back at one of Makhmalbaf's most important mid-career political films, Marriage of the Blessed.
A look back at some Iranian shorts and a feature documentary which have an element of reflexivity which is common to most Iranian cinema.
Writer Rist concentrates on the Asian offerings at the 27th edition of the WFF.
Active before and after the Iranian Revolution of 1979, writer-director Bahram Baizai is an important figure of Iranian cinema. Yet he has yet to receive the awards and accolades of his contemporaries, like Kiarostami, Makhmalbaf, Panahi, and Majidi, at least not in the West.
A recurring element that struck me during the 2002 Festival International Nouveau Cinéma Nouveaux Medias’ and which I have decided to use as my anchor for this report, is the fragmented narrative, and/or the anthology or omnibus format. Many films at the FCMM were structured using this time honored tradition. Films covered in this report include 11’09’’01, Ten, Gambling, Gods and LSD, Dolls, and Elsewhere.
Iranian cinema once again leads the way at the Montreal World Film Festival.