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Habib Majidi, SMPSP Memento Films Présente
© Photos : Habib Majidi, SMPSP MEMENTO FILMS PRÉSENTE SHAHAB HOSSEINI TARANEH ALIDOOSTI LE CLIENT UN FILM DE ASGHAR FARHADI 2h03 - 1.85 - 5.1 - Iran / France SORTIE LE 9 NOVEMBRE photos et dossier de presse téléchargeables sur www.memento-films.com distribution presse Vanessa Jerrom t : 06 14 83 88 82 9, cité paradis - 75010 Paris t : 01 53 34 90 39 Claire Vorger [email protected] [email protected] SYNOPSIS Contraints de quitter leur appartement du centre de Téhéran en raison d’importants travaux menaçant l’immeuble, Emad et Rana emménagent dans un nouveau logement. Un incident en rapport avec l’ancienne locataire va bouleverser la vie du jeune couple. ENTRETIEN AVEC ASGHAR FARHADI Après LE PASSÉ tourné en France et en Comment définiriez-vous LE CLIENT ? français, pourquoi avez-vous choisi de Est-ce le récit d’une vengeance ou une revenir à Téhéran pour LE CLIENT ? histoire d’honneur perdu ? Après avoir tourné LE PASSÉ en France, j’ai J’aurais beaucoup de mal à définir commencé à travailler sur une histoire qui ou à résumer LE CLIENT, ou même à se déroule en Espagne. Nous avons fait les exprimer ce que cette histoire m’inspire repérages et j’ai écrit un scénario complet, personnellement. Tout dépend des non-dialogué. Nous avons discuté du préoccupations et du regard du spectateur. projet avec les producteurs et les acteurs Celui qui le verra comme un film social principaux. Mais pour réunir toute l’équipe, retiendra les éléments relatifs à cet aspect. il fallait attendre presque un an. C’était Un autre pourrait n’adopter qu’un point de l’occasion pour moi de faire un film en Iran, vue moral, ou un angle encore différent. -
Interview with Bahman Jalali1
11 Interview with Bahman Jalali1 By Catherine David2 Catherine David: Among all the Muslim countries, it seems that it was in Iran where photography was first developed immediately after its invention – and was most inventive. Bahman Jalali: Yes, it arrived in Iran just eight years after its invention. Invention is one thing, what about collecting? When did collecting photographs beyond family albums begin in Iran? When did gathering, studying and curating for archives and museum exhibitions begin? When did these images gain value? And when do the first photography collections date back to? The problem in Iran is that every time a new regime is established after any political change or revolution – and it has been this way since the emperor Cyrus – it has always tried to destroy any evidence of previous rulers. The paintings in Esfahan at Chehel Sotoon3 (Forty Pillars) have five or six layers on top of each other, each person painting their own version on top of the last. In Iran, there is outrage at the previous system. Photography grew during the Qajar era until Ahmad Shah Qajar,4 and then Reza Shah5 of the Pahlavi dynasty. Reza Shah held a grudge against the Qajars and so during the Pahlavi reign anything from the Qajar era was forbidden. It is said that Reza Shah trampled over fifteen thousand glass [photographic] plates in one day at the Golestan Palace,6 shattering them all. Before the 1979 revolution, there was only one book in print by Badri Atabai, with a few photographs from the Qajar era. Every other photography book has been printed since the revolution, including the late Dr Zoka’s7 book, the Afshar book, and Semsar’s book, all printed after the revolution8. -
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Volume 15 - Number 2 February – March 2019 £4 TTHISHIS ISSUEISSUE: IIRANIANRANIAN CINEMACINEMA ● IIndianndian camera,camera, IranianIranian heartheart ● TThehe lliteraryiterary aandnd dramaticdramatic rootsroots ofof thethe IranianIranian NewNew WaveWave ● DDystopicystopic TTehranehran inin ‘Film‘Film Farsi’Farsi’ popularpopular ccinemainema ● PParvizarviz SSayyad:ayyad: socio-politicalsocio-political commentatorcommentator dresseddressed asas villagevillage foolfool ● TThehe nnoiroir worldworld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ofof IranianIranian ‘Sacred‘Sacred Defence’Defence’ CinemaCinema ● AAsgharsghar Farhadi’sFarhadi’s ccinemainema ● NNewew diasporicdiasporic visionsvisions ofof IranIran ● PPLUSLUS RReviewseviews andand eventsevents inin LondonLondon Volume 15 - Number 2 February – March 2019 £4 TTHISHIS IISSUESSUE: IIRANIANRANIAN CCINEMAINEMA ● IIndianndian ccamera,amera, IIranianranian heartheart ● TThehe lliteraryiterary aandnd ddramaticramatic rootsroots ooff thethe IIranianranian NNewew WWaveave ● DDystopicystopic TTehranehran iinn ‘Film-Farsi’‘Film-Farsi’ ppopularopular ccinemainema ● PParvizarviz SSayyad:ayyad: ssocio-politicalocio-political commentatorcommentator dresseddressed aass vvillageillage ffoolool ● TThehe nnoiroir wworldorld ooff MMasudasud KKimiaiimiai ● TThehe rresurgenceesurgence ooff IIranianranian ‘Sacred‘Sacred DDefence’efence’ CinemaCinema ● AAsgharsghar FFarhadi’sarhadi’s ccinemainema ● NNewew ddiasporiciasporic visionsvisions ooff IIranran ● PPLUSLUS RReviewseviews aandnd eeventsvents -
The La Trobe Journal No. 91 June 2013 Endnotes Notes On
Endnotes NB: ‘Scollay’ refers to Susan Scollay, ed., Love and Devotion: from Persia and beyond, Melbourne: Macmillan Art Publishing in association with the State Library of Victoria and the Bodleian Library, 2012; reprinted with new covers, Oxford: The Bodleian Library, 2012. Melville, The ‘Arts of the Book’ and the Diffusion of Persian Culture 1 This article is a revised version of the text of the ‘Keynote’ lecture delivered in Melbourne on 12 April 2012 to mark the opening of the conference Love and Devotion: Persian cultural crossroads. It is obviously not possible to reproduce the high level of illustrations that accompanied the lecture; instead I have supplied references to where most of them can be seen. I would like to take this opportunity to thank all those at the State Library of Victoria who worked so hard to make the conference such a success, and for their warmth and hospitality that made our visit to Melbourne an unrivalled pleasure. A particular thanks to Shane Carmody, Robert Heather and Anna Welch. 2 The exhibition Love and Devotion: from Persia and beyond was held in Melbourne from 9 March to 1 July 2012 with a second showing in Oxford from 29 November 2012 to 28 April 2013. It was on display at Oxford at the time of writing. 3 Scollay. 4 For a recent survey of the issues at stake, see Abbas Amanat and Farzin Vejdani, eds., Iran Facing Others: identity boundaries in a historical perspective, New York: Palgrave Macmillan, 2012; the series of lectures on the Idea of Iran, supported by the Soudavar Memorial Foundation, has now spawned five volumes, edited by Vesta Sarkhosh Curtis and Sarah Stewart, vols. -
La Discapacidad Visual En El Cine Iraní
UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Zahra Razi Directora Isabel Martín Sánchez . Madrid Ed. electrónica 2019 © Zahra Razi, 2019 UNIVERSIDAD COMPLUTENSE DE MADRID Facultad de Ciencias de la Información Departamento de Periodismo y Comunicación global TESIS DOCTORAL La discapacidad visual en el cine iraní MEMORIA PARA OPTAR AL GRADO DE DOCTOR Autora: Zahra Razi Directora: Dra. Isabel Martín Sánchez Madrid, 2018 I Agradecimientos En primer lugar quiero agradecer de manera destacada a mi directora, Dra. Isabel Martín Sánchez, la confianza que ha mostrado en esta investigación desde el principio, el apoyo constante durante el desarrollo de la tesis y el intenso trabajo en los últimos meses para concluir este trabajo de investigación. Le agradezco la confianza, apoyo y dedicación de tiempo a mis profesores: Dra. María Antonia Paz, Dr. Francisco García García, Dr. Bernardino Herrera León, Dr. Joaquín Aguirre Romero, Dr. Vicente Baca Lagos y Dr. Emilio Carlos García por haber compartido conmigo sus conocimientos y sobre todo su amistad. Además, quiero agradecer a la Universidad Complutense de Madrid, la posibilidad que me ofreció de realizar, entre 2012 y 2014, el Máster en Comunicación Social, cuyo trabajo final es el embrión de esta tesis doctoral en 2018, que me abrió la puerta a una realidad social, hasta entonces conocida pero no explorada, como es el mundo de la discapacidad visual en el cine iraní. A Ana Crespo, por ser parte de mi vida académica, gracias por su apoyo, comprensión y sobre todo amistad y dedicación de tiempo. -
Silence Studies in the Cinema and the Case of Abbas Kiarostami
SILENCE STUDIES IN THE CINEMA AND THE CASE OF ABBAS KIAROSTAMI by Babak Tabarraee M.A., Tehran University of Art, 2007 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) January 2013 © Babak Tabarraee, 2013 Abstract This thesis is an attempt to formulate a systematic framework for ‘silence studies’ in the cinema by defining silence in pragmatic terms and suggesting different forms of filmic silence. As an illustration of my model, I examine the variety of silences in the works of Abbas Kiarostami, a notable figure of Art Cinema. The analytical approach suggested here can further be applied to the works of many other Art Cinema auteurs, and, by extension, to other cinematic modes as well, for a better understanding of the functions, implications, and consequences of various forms of silence in the cinema. Chapter 1 provides a working and pragmatic description of silence, applicable to both film and other communicative forms of art. Chapter 2 represents a historical study of some of the major writings about silence in the cinema. Chapter 3 introduces, exemplifies, and analyzes the acoustic silences in the films of Kiarostami, including the five categories of complete , partial (uncovered; covered with noise, music, or perspective), character/dialogue , language , and music silences. Chapter 4 introduces the concept of meta-silence and its trans-sensorial perceptions in communication and in arts, and then defines the four categories of the visual , character/image , narrative , and political silences in Kiarostami’s oeuvre. -
Program in Comparative Literature the University of Texas at Austin
Program in Comparative Literature The University of Texas at Austin Comparative Literature Newsletter Director’s Note Summer 2017 We live in a networked and interconnected world, Letter from the Director 1 where rhyzomatically everything is connected to everything else, everything affects everything else, even as our perspectives on that world Fall 2017 Courses 2 emerge from the local and the personal. The field Degree Recipients 2 of Comparative Literature is itself a network sans Student News and Profiles frontiers, defined by our mission to “think across A Note From GRACLS 3 cultures and across languages” so as to imagine Prizes and Fellowships 4 and explore the human to its limits and maybe First Year Student Profiles 5 even beyond. By its nature, Comparative Literature Incoming Student Profiles 6 demands dialogue within and across national borders. Reflections on the GRACLS Conference 7-8 The free movement of students and scholars, to Student News & Profiles 8-14 and from universities, academic conferences, and Dr. Elizabeth Richmond- Garza other places of research and teaching, is therefore Faculty Publications 15-16 of the utmost importance to our field. In turn, the field and practices of comparative ACLA 2017 16 literature are important for fostering mutual understanding and respect across and among cultures, languages, ethnicities, religions, and national boundaries. Situated Alumni Profiles near our Texas border, with more than thirty languages represented by our students and Dr. Jillian Sayre 17 faculty, our program continues to see the world in terms of collaborative communities of thought whose very diversity ensures that intellectual inquiry remains a passport to understanding. -
Religious Studies 181B Political Islam and the Response of Iranian
Religious Studies 181B Political Islam and the Response of Iranian Cinema Fall 2012 Wednesdays 5‐7:50 PM HSSB 3001E PROFESSOR JANET AFARY Office: HSSB 3047 Office Hours; Wednesday 2:00‐3:00 PM E‐Mail: [email protected] Assistant: Shayan Samsami E‐Mail: [email protected] Course Description Artistic Iranian Cinema has been influenced by the French New Wave and Italian neorealist styles but has its own distinctly Iranian style of visual poetry and symbolic lanGuaGe, brinGinG to mind the delicate patterns and intricacies of much older Iranian art forms, the Persian carpet and Sufi mystical poems. The many subtleties of Iranian Cinema has also stemmed from the filmmakers’ need to circumvent the harsh censorship rules of the state and the financial limitations imposed on independent filmmakers. Despite these limitations, post‐revolutionary Iranian Cinema has been a reGular feature at major film festivals around the Globe. The minimalist Art Cinema of Iran often blurs the borders between documentary and fiction films. Directors employ non‐professional actors. Male and female directors and actors darinGly explore the themes of Gender inequality and sexual exploitation of women in their work, even thouGh censorship laws forbid female and male actors from touchinG one another. In the process, filmmakers have created aesthetically sublime metaphors that bypass the censors and directly communicate with a universal audience. This course is an introduction to contemporary Iranian cinema and its interaction with Political Islam. Special attention will be paid to how Iranian Realism has 1 developed a more tolerant discourse on Islam, culture, Gender, and ethnicity for Iran and the Iranian plateau, with films about Iran, AfGhanistan, and Central Asia. -
World Cinema Amsterd Am 2
WORLD CINEMA AMSTERDAM 2011 3 FOREWORD RAYMOND WALRAVENS 6 WORLD CINEMA AMSTERDAM JURY AWARD 7 OPENING AND CLOSING CEREMONY / AWARDS 8 WORLD CINEMA AMSTERDAM COMPETITION 18 INDIAN CINEMA: COOLLY TAKING ON HOLLYWOOD 20 THE INDIA STORY: WHY WE ARE POISED FOR TAKE-OFF 24 SOUL OF INDIA FEATURES 36 SOUL OF INDIA SHORTS 40 SPECIAL SCREENINGS (OUT OF COMPETITION) 47 WORLD CINEMA AMSTERDAM OPEN AIR 54 PREVIEW, FILM ROUTES AND HET PAROOL FILM DAY 55 PARTIES AND DJS 56 WORLD CINEMA AMSTERDAM ON TOUR 58 THANK YOU 62 INDEX FILMMAKERS A – Z 63 INDEX FILMS A – Z 64 SPONSORS AND PARTNERS WELCOME World Cinema Amsterdam 2011, which takes place WORLD CINEMA AMSTERDAM COMPETITION from 10 to 21 August, will present the best world The 2011 World Cinema Amsterdam competition cinema currently has to offer, with independently program features nine truly exceptional films, taking produced films from Latin America, Asia and Africa. us on a grandiose journey around the world with stops World Cinema Amsterdam is an initiative of in Iran, Kyrgyzstan, India, Congo, Columbia, Argentina independent art cinema Rialto, which has been (twice), Brazil and Turkey and presenting work by promoting the presentation of films and filmmakers established filmmakers as well as directorial debuts by from Africa, Asia and Latin America for many years. new, young talents. In 2006, Rialto started working towards the realization Award winners from renowned international festivals of a long-cherished dream: a self-organized festival such as Cannes and Berlin, but also other films that featuring the many pearls of world cinema. Argentine have captured our attention, will have their Dutch or cinema took center stage at the successful Nuevo Cine European premieres during the festival. -
4-12 Novembre | Cinema Savoy - Macro
Opera di Zoo Project, dalla serie di grafti "Les Martyrs" 4-12 NOVEMBRE | CINEMA SAVOY - MACRO Direzione Artistica e Organizzativa Redazione Artistic and Executive Management Editorial Staff Ginella Vocca Giulio Casadei Presidente Fondatore MedFilm Festival / MedFilm Francesca Passacantando Festival President and Founder Veronica Flora Mara Valente Giulio Casadei, Responsabile Programmazione Federica Licata / Head of Programming Gianfranco Pannone, Curatore Concorso Catalogo a cura di Documentari / International Documentary Films Catalog Curator Competition Programmer Alessandro Zoppo, Curatore Concorso Alessandro Zoppo Cortometraggi, Coordinamento programmazione / International Short Films Competition Grafca del Catalogo Programmer, Screening Coordinator Graphic Design Francesca Passacantando, Progetto Methexis / Methexis Project Andrea Pergola & Pietro Bindi - Dude Mag Comitato di Selezione Uffcio Stampa Selection Committee Press Offce Giulio Casadei Reggi&Spizzichino Communication Francesca Passacantando Veronica Flora Veronica Flora Natalia La Terza Alessandro Zoppo Giulia De Luca Gabrielli Gianfranco Pannone Visual Communication, Visual Identity, Digital PR Staff Organizzativo General Organization Valerio Innamorati Anthony Ettorre Movimento Copie / Film Shipment Web Design Management Francesca Delise Responsabile Ospitalità / Guest Simone Foti Manager Veronica Flora Responsabile rapporti Università / Foto & Video University Relations Manager Photos & Videos Giulia De Luca Gabrielli Responsabile comunicazione / Projection Coordinator -
Habib Majidi, SMPSP © Design : Laurent Pons / Troïka CREDITS
© photos : Habib Majidi, SMPSP © Design : Laurent Pons / TROÏKA DESIGN LAURENT PONS/ TROÏKA DESIGN LAURENT PONS/ PSP M S ABIB MAJIDI, ABIB MAJIDI, H CREDITS NON CONTRACTUAL - PHOTO MEMENTO FILMS PResents official selection cannes festival SHAHAB TARANEH HOssEINI THE ALIDOOSTI SALESMAN A FILM BY ASGHAR FARHADI 125 min - 1.85 - 5.1 - Iran / France download presskit and stills on www.memento-films.com World Sales & Festivals press Vanessa Jerrom t : 06 14 83 88 82 t : +33 1 53 34 90 20 Claire Vorger [email protected] t : 06 20 10 40 56 [email protected] [email protected] http://international.memento-films.com/ t : + 33 1 42 97 42 47 SYNOPSIS Their old flat being damaged, Emad and Rana, a young couple living in Tehran, is forced to move into a new apartment. An incident linked to the previous tenant will dramatically change the couple's life. INTERVIEW WITH ASGHAR FARHADI After making THE PAST in France and in Everything depends on the viewer’s own French, why did you go back to Tehran particular preoccupations and mindset. If for THE SALESMAN? you see it as social commentary, you’ll re- When I finished THE PAST in France, I member those elements. Somebody else started to work on a story that takes place might see it as a moral tale, or from a totally in Spain. We picked the locations and different angle. What I can say is that once I wrote a complete script, without the again, this film deals with the complexity of dialogue. We discussed about the project human relations, especially within a family. -
Selection of Iranian Films 2020
In the Name of God PUBLISHER Farabi Cinema Foundation No. 59, Sie Tir Ave., Tehran 11358, Iran Management: Tel: +98 21 66708545 / 66705454 Fax: +98 21 66720750 [email protected] International Affairs: Tel: +98 21 66747826 / 66736840 Fax: +98 21 66728758 [email protected] / [email protected] http://en.fcf.ir Editor in Chief: Raed Faridzadeh Teamwork by: Mahsa Fariba, Samareh Khodarahmi, Elnaz Khoshdel, Mona Saheb, Tandis Tabatabaei. Graphics, Layout & Print: Alireza Kiaei A SELECTION OF IRANIAN FILMS 2020 CONTENTS Films 6 General Information 126 Awards 136 Statistics 148 Films Film Title P.N Film Title P.N A BALLAD FOR THE WHITE COW 6 NO PLACE FOR ANGELS 64 ABADAN 1160 8 PLUNDER 66 AMPHIBIOUS 10 PUFF PUFF PASS 68 ATABAI 12 RELY ON THE WIND 70 BANDAR BAND 14 RESET 72 BECAME BLOOD 16 RIOT DAY 74 BONE MARROW 18 THE NIGHT 76 BORN OF THE EARTH 20 THE BLACK CAT 78 CARELESS CRIME 22 THE BLUE GIRL 80 CINEMA SHAHRE GHESEH 24 THE ENEMIES 82 CROWS 26 THE FOURTH ROUND 84 DAY ZERO 28 THE GOOD, THE BAD,THE INDECENT 2 86 DROWN 30 THE GREAT LEAP 88 DROWNING IN HOLY WATER 32 THE INHERITANCE 90 EAR RINGED FISH 34 THE LADY 92 EXCELLENCY 36 THE MARRIAGE PROJECT 94 EXODUS 38 THE RAIN FALLS WHERE IT WILL 96 FATHERS 40 THE REVERSED PATH 98 FILICIDE 42 THE SKIN 100 FORSAKEN HOMES 44 THE SLAUGHTERHOUSE 102 I’M HERE 46 THE STORY OF FORUGH’S GIRL 104 I’M SCARED 48 THE SUN 106 IT’S WINTER 50 THE UNDERCOVER 108 KEEP QUIET SNAIL 52 THE WASTELAND 110 KILLER SPIDER 54 TITI 112 LIFE AMONG WAR FLAGS 56 TOOMAN 114 LUNAR ECLIPSE 58 WALKING WITH THE WIND 116 NARROW RED LINE 60 WALNUT TREE 118 NO CHOICE 62 A BALLAD FOR THE WHITE COW (Ghasideye Gaveh Sefid) Directed by: Behtash Sanaeeha Synopsis: Written by: Behtash Sanaeeha, Maryam Mina’s husband has just been executed Moghadam, Mehrdad Kouroshnia for murder.