MANUSCRIPTS DON't BURN Synopsis Kasra Is an Iranian Author

Total Page:16

File Type:pdf, Size:1020Kb

MANUSCRIPTS DON't BURN Synopsis Kasra Is an Iranian Author MANUSCRIPTS DON'T BURN Synopsis Kasra is an Iranian author who manages to secretly write down his memoirs, although being under strict monitoring by the security service. His stories are related to his time in jail as a political prisoner, as well as different events connected to his life as an intellectual in Iran. He has prepared everything in order to publish these writings and is getting ready to leave the country. Several people in the security service apparatus manage to uncover Kasra’s plans. They will do anything to destroy his manuscripts. Director Mohammad Rasoulof was born in Shiraz, Iran in 1972 and is an independent filmmaker. He studied sociology. He started his professional carrier as a filmmaker with the making of independent documentary films. The docudrama The Twighligth (gagooman) was his first full-length cinema film. This film related to real events and persons and was produced in 2000 and was released in the year 2002. Until today Mohammad Rasoulof has made two documentary and four feature films. In 2010 Mohammad Rasoulof was arrested on set and was accused of filming without a permit. He was sentenced to six years in prison, this was later reduced to one year. Right now he is out on bail and is waiting for the sentence to be executed. His last film Goodbye (Be omid é didar) was released at the 2011 Cannes Film Festival in the category Un Certain Regard and won the prize for directing. His recent film Manuscripts Don't Burn was also screened in the Un Certain Regard section at the 2013 Cannes Film Festival where it won the FIPRESCI Prize. Filmography The Twilight (gagooman) 2002/ Docudrama / 84min Iron Island (jazir e Ahani) 2005 / Fiction / 90min Head Wind (baad e daboor) 2008 / Documentary / 65min The White Meadows (keshtzarhaye sepid ) 2009 / Fiction / 94min Goodbye (be omid e didar) 2011 / Fiction / 104min Manuscripts Don’t Burn (dast-neveshtehaa nemisoozand) 2013 / Fiction / 124min .
Recommended publications
  • A Film by Mohammad Rasoulof a Man of Integrity a Film by Mohammad Rasoulof IRAN / 117 Min / Scope 2,39 / 5.1 / 2017 / Farsi
    A Man of Integrity a film by Mohammad Rasoulof A Man of Integrity a film byMohammad Rasoulof IRAN / 117 min / Scope 2,39 / 5.1 / 2017 / Farsi INTERNATIONAL PUBLICITY WORLD SALES WOLF Consultants The Match Factory GmbH T: +49 157 7474 9724 Domstraße 60, 50668 Cologne/Germany (in Cannes) M: +33 7 60 21 57 76 phone +49 221 539 709-0 / fax +49 221 539 709-10 [email protected] [email protected] / www.the-match-factory.com DOWNLOAD PRESS MATERIALS at: www.wolf-con.com/download Reza (35), having distanced himself from the urban quagmire, leads a simple life along with his wife and sole child, somewhere in a remote village in Northern Iran. He spends his days working in his gold fish farm. Nearby, a private company with close links to the government and local authorities, has taken control of nearly every aspect of the regional life. Its shareholders, accumulating wealth, power and economic rents, have been pushing local farmers and small owners to dilapidate their belongings, farms and estates, to the benefit of the Company’s influential network and its monopoly. It is under their pressure that many villagers have themselves become local rings of the larger network of corruption. Meanwhile, Reza strives to resist coercion and preserve his farm. Soon though, he will realize that he can no longer stand up to this powerful, yet hidden, coercive web of corruption. Giving up, he decides to sell his property and move away. The Company however, decides to raise the stakes… PRODUCER’S NOTES DIRECTOR’S COMMENTS I have so far produced up to six films, none of which ever screened in Iran – the land my stories and I belong to.
    [Show full text]
  • THERE IS NO EVIL (Sheytan Vojud Nadarad) a Film by Mohammad Rasoulof
    THERE IS NO EVIL (Sheytan vojud nadarad) A film by Mohammad Rasoulof 150 min/Germany/Czech Republic/Iran/Farsi with English subtitles/2020/Cert tbc Winner of the Golden Bear – Berlin International Film Festival 2020 Release 2021 FOR ALL PRESS ENQUIRIES PLEASE CONTACT: Sue Porter/Lizzie Frith – Porter Frith Ltd Tel. 07940 584066/07825 603705 [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT Robert Beeson – [email protected] Dena Blakeman – [email protected] Unit 9, Bickels Yard 151 – 153 Bermondsey St London SE1 3HA [email protected] SYNOPSIS: Every society that enforces the death penalty needs people to kill other people. Four men are faced with an unthinkable but simple choice. Whatever they decide, it will directly or indirectly corrode themselves, their relationships, and their entire lives. In four thematically connected episodes, Mohammad Rasoulof tells their stories, which inevitably are also the stories of the people who surround them. 1 - THERE IS NO EVIL 40-year-old Heshmat is a kind and pleasant family man. He has a peaceful life with his wife and young daughter. He feels caught up in a daily routine. He makes enough money to support his family, but we see in his eyes that they are living with a secret. 2 – SHE SAID, “YOU CAN DO IT” Pouya has just begun his mandatory 2-year military service. With an honorable discharge, he will be able to apply for a passport and realize his dream of leaving Iran to live abroad with his girlfriend. After only one week of basic training, he is faced with a dilemma.
    [Show full text]
  • Catalogue5th Edition
    CATALOGUE 5th Edition 1 5 WELCOME BY RAYMOND WALRAVENS 7 WORLD CINEMA AMSTERDAM JURY AWARD 8 OPENING & CLOSING CEREMONY / AWARDS 9 THIS YEar’s vENUES 10 PRIZE WINNERS OF PREVIOUS EDITIONS 12 WORLD CINEMA AMSTERDAM COMPETITION 22 HELLO KAZACHSTAN! 28 ¡HOLA URUGUAY! 36 WORLD CINEMA OPEN AIR 41 WORLD CINEMA OPEN AIR @ VU CAMPUS 42 SPECIAL SCREENINGS 55 MEET ME @ WCA 56 WE WOULD LIKE TO THANK 60 INDEX FILMMAKERS A - Z 61 INDEX FILMS A - Z 62 FESTIVAL STAFF & COLOPHON 63 SPONSORS AND PARTNERS 3 4 WELCOME! WORLD CINEMA AMSTERDAM: THE 5TH EDITION Travelling around the world without having to leave the city... WORLD CINEMA AMSTERDAM COMPETITION That’s what Rialto had in mind when it initiated the World As in the past four editions, the competition programme Cinema Amsterdam film festival five years ago. We knew forms the festival’s backbone. The films featuring in this that there were enough “film travellers” around, but realized year’s competition cover a broad and diverse spectrum: nine that they rarely found what they were looking for. Apparently, remarkable films from nine different countries have been there’s a peculiar discrepancy between non-Western art nominated for the World Cinema Amsterdam Jury Award. cinema’s success at various international film festivals and Among these are four debut films by young, talented direc- how many of these films actually make it to cinemas in the tors: Diego Ruiz (Chile), July Jung (South Korea), Zeresenay Netherlands. Of the 10,000 films that are produced world- Berhane Mehari (Ethiopia) and Gonzalo Lugo & Florencia wide annually, about 400 are screened in Dutch cinemas.
    [Show full text]
  • Publications Editor Prized Program Contributors
    THE NATIONAL FILM PRESERVE LTD. PRESENTS THE Julie Huntsinger | Directors Tom Luddy Gary Meyer Muffy Deslaurier | Director of Support Services Brandt Garber | Production Manager Karen Schwartzman | SVP, Partnerships Erika Moss Gordon | VP, Filmanthropy Melissa DeMicco | Development Manager Jannette Angelle Bivona | Assistant to the Directors Kate Sibley | Education Programs Dean Jenny Jacobi | Operations Manager Joanna Lyons | Events Manager Bärbel Hacke | Hosts Manager Shannon Mitchell | VP, Publicity Marc McDonald | Theater Operations Manager Lucy Lerner | SHOWCorps Manager Erica Gioga | Housing/Travel Manager Chapin Cutler | Technical Director Ross Krantz | Technical Wizard Barbara Grassia | Projection Chief Annette Insdorf | Moderator Mark Danner | Resident Curators Godfrey Reggio Pierre Rissient Peter Sellars Paolo Cherchi Usai Publications Editor Jason Silverman (JS) Chief Writer Larry Gross (LG) Prized Program Contributors Sheerly Avni (SA), Michael Barker (MB), Meredith Brody (MBr), Paolo Cherchi Usai (PCU), Mark Danner (MD), Jesse Dubus (JD), Roger Ebert (RE), Scott Foundas (SF), Barry Jenkins (BJ), Dorna Khazeni (DK), Jonathan Marlow (JM), Todd McCarthy (TM), Colin MacCabe (CM), Gary Meyer (GM), Peter Sellars (PS), Milos Stehlik (MS), David Thomson (DT), Angela Valles (AV) Tribute Curator Short Films Curators Chris Robinson Barry Jenkins and Godfrey Reggio 1 Shows The National Film Preserve, Ltd. Introducing A Colorado 501(c)(3) nonprofit, tax-exempt educational corporation THE WERNER HERZOG THEATER Founded in 1974 by James Card, Tom Luddy and Bill & Stella Pence Directors Emeriti Bill & Stella Pence Board of Governors Peter Becker, Ken Burns, Peggy Curran, Michael Fitzgerald, Julie Huntsinger, Linda Lichter, Tom Luddy, Gary Meyer, Elizabeth Redleaf, Milos Stehlik, Shelton g. Stanfill (Chair), Joseph Steinberg Esteemed Council of Advisors Laurie Anderson | New York, NY Werner at TFF 7, 1980 Jeremy Barber | Los Angeles, CA Chuck Jones represents cinema’s joie de vivre, Abel Gance its vision and Alberto Barbera | Torino, Italy ingenuity.
    [Show full text]
  • Diari Di Cineclub N. 81
    _ n.3 Anno IX N. 81 | Marzo 2020 | ISSN 2431 - 6739 Mohammad Rasoulof, un regista coerente Fellini e il fantasma di del cinema iraniano contemporaneo La dolce vita nel tes- Il coraggio di raccontare la fatica di vivere sotto l’oppressione suto di Intervista Le sequenze di La dolce del regime teocratico, sfidando i processi, le condanne e i vita di Fellini dove appa- divieti di filmare iono insieme, nella stes- sa inquadratura, Marcel- In Iran la Rivoluzione mise en scène obbligando i registi a strategie e lo Mastroianni e Anita del 1978 - 1979 e la con- stratagemmi, attraverso l’uso di soggetti e te- Ekberg, hanno acquisi- seguente instaurazione matiche che servono per veicolare messaggi e to, fin dal 1960 e sem- della Repubblica islami- “verità” (ad esempio i bambini e la poesia persia- pre di più nel corso dei ca, determinarono una na) e di ellissi e scelte di montaggio che evocano Roberto Chiesi sessant’anni trascorsi violenta contestazione contenuti e immagini che sono proibiti o che co- Giovanni Ottone successivamente, uno nei confronti del cine- munque non possono essere filmati. Ne sono statuto mitologico e leggendario, una rilevan- ma, visto come fenomeno di “corruzione mo- derivate alcune complesse questioni che sono za di “icona” il cui impatto simbolico probabil- rale”. Tuttavia, successivamente, su sollecita- determinanti per capire temi e contraddizio- mente ormai si identifica al cinema tout court zione dell’ayatollah Khomeyni, che proclamò ni espressi dai filmmaker in Iran. Ci limitia- anche per un pubblico generico e indifferen- che “il cinema deve educare il popolo”, le rela- mo a enunciarne alcune: le relazioni tra cinema ziato: l’immagine di Marcello e Sylvia che bal- zioni tra il governo teocratico e il settore ven- segue a pag.
    [Show full text]
  • Jafar Panahi and Mohamad Rasoulof
    12/46 Jafar Panahi and Mohamad Rasoulof Thursday 5 July, London. Throughout August BFI Southbank will host a retrospective of films by two of Iran’s most important filmmakers Jafar Panahi and Mohamad Rasoulof. Xan Brooks says of Jafar Panahi: “A leading light of the Iranian new wave, the creator of haunting social-realist fables that were suppressed in his homeland but played well with art house audiences in the west…Panahi's new-wave compatriots have largely decided to abandon Iran…Yet Panahi has always identified himself as an Iranian film-maker, based in Iran”. Having had three of his films banned by Iranian authorities, Panahi has long been considered a dissident with a social agenda. So much so that in 2010, he and Rasoulof were arrested at his home and accused of carrying out propaganda against the state. Panahi and Rasoulof were given six-year prison sentences. In addition Panahi received a 20-year ban from writing and filmmaking (sparking mass outrage from the film community include Martin Scorsese, Sean Penn and Harvey Weinstein) and while Rasoulof is now able to work, Panahi’s situation still remains unclear. This season will chart both their careers, starting with Panahi’s - from Abbas Kiarostami’s Through the Olive Trees (1994) on which Panahi was assistant director, to his latest ‘film’, the covertly exported This is Not a Film (2011). The second half of the season will focus on the lesser known but no less significant filmmaker Mohamad Rasoulof. The season will feature The Twilight (2002), Iron Island (2005) and The White Meadows (2009), and will finish with Goodbye (2011) which won Rasoulof the Best Director Award at Cannes despite him being unable to receive it in person due to his arrest.
    [Show full text]
  • Mediendossier Trigon-Film
    präsentiert THERE IS NO EVIL Ein Film von Mohammad Rasoulof Iran, 2020 Mediendossier VERLEIH trigon-film MEDIENKONTAKT Kathrin Kocher [email protected] Tel. 056 430 12 35 Bildmaterial: www.trigon-film.org Kinostart DCH: 22. Oktober 2020 CREDITS Originaltitel There is no Evil Regie Mohammad Rasoulof Drehbuch Mohammad Rasoulof Montage Mohammadreza Muini, Meysam Muini Kamera Ashkan Ashkani Musik Amir Molookpour Ton Hasan Shabankareh, Philipp Kemptner, Hasan Mahdavi Kostüm Afsaneh Sarfejo Ausstattung Saeed Asadi Produktion Mohammad Rasoulof, Kaveh Farnam, Farzad Pak Land Iran Jahr 2020 Dauer 150 Minuten Sprache/UT Farsi/d/f BESETZUNG Ehsan Mirhosseini Heschmat Shaghayegh Shourian Razieh Kaveh Ahangar Pouya Alireza Zareparast Hasan Salar Khamseh Salar Darya Moghbeli Tahmineh Mahtab Servati Nana Mohammad Valizadegan Javad Mohammad Seddighimehr Bahram Jila Shahi Zaman Baran Rasoulof Darya FESTIVALS & AUSZEICHNUNGEN Berlinale 2020 Goldener Bär Bester Film | Guild Film Prize | Prize of the Ecumenical Jury INHALT KURZ Jede Gesellschaft, die die Todesstrafe vollstreckt, braucht Menschen, die andere Menschen töten. Vier Männer werden vor eine unvorstellbare, im Grunde aber einfache Wahl gestellt. Wofür auch immer sie sich entscheiden, es wird direkt oder indirekt sie selbst, ihre Beziehun- gen und ihr ganzes Leben vergiften. In vier thematisch zusammenhängenden Episoden er- zählt Mohammad Rasoulof ihre Geschichten, die zwangsläufig auch die Geschichten der Menschen sind, die sie umgeben. INHALT LANG 1 DOCH DAS BÖSE GIBT ES NICHT (THERE IS NO EVIL) Der 40-jährige Heschmat ist ein vorbildlicher Ehemann und Vater. Er führt ein friedliches Leben mit seiner Frau und seiner kleinen Tochter – und doch braucht er Tabletten zum Einschlafen. Er verdient genug Geld, um seiner Familie und der betagten Mutter ein angenehmes Leben zu bieten, fühlt sich in seiner täglichen Routine aber gefangen.
    [Show full text]
  • Son-Mother / Pesar-Madar
    SON-MOTHERSON-MOTHER / PESAR-MADAR SON-MOTHER / PESAR-MADAR DIRECTOR: MAHNAZ MOHAMMADI, SCREENPLAY BY: MOHAMMAD RASOULOF, DIRECTOR OF PHOTOGRAPHY: ASHKAN ASHKANI, EDITED BY: MOHAMMADREZA MUINI, SET & COSTUME DESIGNER: SIAMAK KARINEZHAD, MAKE-UP DESIGNER: MEHRDAD MIRKIANI, SUPERVISING SOUND EDITOR AND MIX: ENSIEH MALEKI, SOUND RECORDIST: HASAN SHABANKAREH, MUSIC BY: AMIR MOLOOKPOUR, PRODUCED BY: KAVEH FARNAM, MOHAMMAD RASOULOF AND FARZAD PAK CAST: RAHA KHODAYARI, MAHAN NASIRI, REZA BEHBOODI, SHIVA ORDOOIE AND MARYAM BOUBANI SON-MOTHER / PESAR-MADAR Son / Mother Pesar – Madar | Iran | 2019 | 102 min Directed by Mahnaz Mohammadi Cast Leila Raha Khodayari Amir Mahan Nasiri Kazem Reza Behboodi School Principal Shiva Ordooie & Bibi Maryam Boubanii Crew Screenplay Mohammad Rasoulof Director of Photography Askhan Askhani Editor Mohammadreza Muini Make-up Designer Mehrdad Mirkiani Set & Costume Designer Siamak Karinezhad Supervising Sound Editor & Mix Ensieh Maleki Music Composer Amir Molookpour Sound Recordist Hasan Shabankareh Production Manager Vahid Moshari Post-production Coordinator Gabriela Daniels Post-production & VFX Magiclab, Roashana Studios Sound Technical House Moon Studio, Bystrouška Studio Produced by Kaveh Farnam (Europe Media Nest) Mohammad Rasoulof Farzad Pak (Filminiran) Technical details Shooting format 4k ProRes Screening format 2k Audio 5.1 Aspect Ratio Flat Framerate 24 Original version/language Persian Subtitles English SON-MOTHER / PESAR-MADAR INTRODUCTION Synopsis eila is a single working mom of two. The factory she works at faces a crisis Land jobs are at stake. Kazem, the factory bus driver, proposes marriage to Leila, but she hesitates to accept his conditions. Kazem has a daughter the same age as her After Leila is fired from her job, she makes the 12-year-old son, Amir, and since tradition decision to stay with Kazem and leave Amir at frowns upon a young girl sharing a household a boarding school for deaf children for a while with her step-brother, Kazem tells Leila not to she tries to manage his return.
    [Show full text]
  • 35Th Portland International Film Festival 3
    THE NORT HWEST FILM CENTER / PORTLAND ART M USE UM PRESENTS 3 5TH PORTLaNd INTERNaTIONaL FILM FESTIvaL SPONSOREd BY: THE OREGONIaN / R E GaL CINEMaS F E BRU aRY 9–25, 2012 WELCOME Welcome to the Northwest Film Center’s 35th annual showcase of new world cinema. Like our annual Northwest Filmmakers’ Festival, which celebrates the creativity and vision of artists in our community, the Portland International Film Festival (PIFF) seeks to explore the diversity of not only the art of film, but also the world around us. This year’s PIFF presents 93 feature and 46 short films from over three dozen countries, in an inspiring, eclectic snapshot of recent international cinema that we hope will stimulate your filmgoing well beyond the Festival itself. As part of the Film Center’s 40th Anniversary Season, we continue to look forward to the new more than celebrating the past, as we consider the role that film and the Film Center play in animating the regional cultural community. In that spirit, PIFF 35 is expanding its footprint, with theaters spread throughout the city and, we hope, with new audiences to match. In addition to our home base at the Whitsell Auditorium in the Portland Art Museum, PIFF screenings will come alive at Cinema 21, Cinemagic, Regal Lloyd Center Mall, Pioneer Place Cinemas, Newmark Theatre of the Portland Center for the Performing Arts, World Trade Center, and Lake Twin Cinema in Lake Oswego. This year, we welcome a host of new sponsors, too. The Bank of Lake Oswego and City of Lake Oswego are enthusiastic partners in engaging new audiences there.
    [Show full text]
  • Mediendossier Trigon-Film
    präsentiert A MAN OF INTEGRITY Ein Film von Mohammad Rasoulof Iran, 2017 Mediendossier VERLEIH trigon-film MEDIENKONTAKT Meret Ruggle [email protected] Tel. 056 430 12 35 Bildmaterial: www.trigon-film.org Kinostart DCH: 12. April 2018 MITWIRKENDE Regie & Drehbuch Mohammad Rasoulof Montage Meysam Muini, Mohammadreza Muini Kamera Ashkan Ashkani Musik Peyman Yazdanian Ausstattung Saeid Asadi, Mahsa Gharehkhani Produktion Mohammad Rasoulof Land Iran Jahr 2017 Dauer 117 Minuten Sprache/UT Farsi/d/f BESETZUNG Reza Akhlaghirad Soudabeh Beizaee Nasim Adabi Zeinab Shabani Missagh Zareh Mehdi Mehraban AUSZEICHNUNGEN Cannes, Un certain regard 2017: Best Film INHALT KURZ Reza hat sich aus dem moralischen Sumpf der Stadt zurückgezogen und führt mit seiner Frau und seinem Kind ein beschauliches Leben als Fischzüchter in einem Dorf im Norden Irans. Doch auch auf dem Land herrschen Korruption und Gewalt. Ein Grossfabrikant, der beste Beziehungen zur Regierung unterhält, zwingt die lokalen Bauern und kleinen Unternehmer mit allen Mitteln in ein Netz der Abhängigkeit. Reza ist fest entschlossen, sich dem Filz fernzuhalten – doch eines Tages sind seine Fische tot. Eindrücklich erzählt der Film, wie korrupte Kartelle aus Macht und Geld das Leben im Iran beherrschen. INHALT LANG «In diesem Land ist man entweder Unterdrücker oder Unterdrückter» heisst es irgendwann in Mohammad Rasoulofs neuem Film mit dem bezeichnenden Titel A Man of Integrity. Um diesem Dilemma zu entkommen, ist der 35-jährige Reza aus Teheran weggezogen und hat sich in einem kleinen Dorf im Norden Irans niedergelassen, wo er ein beschauliches Leben als Fischzüchter führt. Seine Frau ist Rektorin an einer Mädchenschule, gemeinsam haben die beiden einen Buben.
    [Show full text]
  • Direct from Cannes – Sydney Film Festival Announces New Films, On
    MEDIA RELEASE EMBARGOED UNTIL 00:01am MONDAY 5 JUNE 2017 DIRECT FROM CANNES SYDNEY FILM FESTIVAL ANNOUNCES NEW FILMS, ON SALE NOW The 64TH Sydney Film Festival (7-18 June) which opens this Wednesday, announces that seven important new feature films will come to Sydney after screening at Cannes, including The Square: winner of this year’s Palme d’Or, the biggest prize in world cinema. “Seven works of cinema from some of the most talked about directors and stars of our time have been added to the Festival line-up,” said Festival Director Nashen Moodley. “All are Australian premieres and essential viewing for film buffs. “Sydney Film Festival audiences will be the first in the country to see 2017 Palme d’Or winner, surrealist satire The Square, starring Elizabeth Moss and Dominic West, 2017 Cannes Prix Un Certain Regard winner, A Man of Integrity, from Mohammad Rasoulof – one of Iran’s most outspoken directors – and Cannes-selected gritty heist drama Good Time, starring Robert Pattinson, who gives a career defining performance.” “Also from Cannes, Jupiter’s Moon, a film that tackles some of today’s biggest issues though sci-fi and a Syrian refugee with superpowers, and prolific Japanese director Takashi Miike's 100th film, the samurai bloodbath Blade of the Immortal. “There are also two Cannes-selected debut films: Ali Soozandeh’s animation Tehran Taboo, looking at the secret life of young people in Iran and their struggle for personal and sexual freedom, and I Am Not a Witch, a straight-faced satire involving “witches”, from Zambian-born Welsh director Rungano Nyoni,” he said.
    [Show full text]
  • No Riddle but Time: Historical Consciousness in Two Islamicate Films
    Journal of Religion & Film Volume 24 Issue 1 April 2020 Article 59 March 2020 No Riddle but Time: Historical Consciousness in Two Islamicate Films David Sander Stonehill College, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Part of the History of Religion Commons, Islamic Studies Commons, and the Islamic World and Near East History Commons Recommended Citation Sander, David (2020) "No Riddle but Time: Historical Consciousness in Two Islamicate Films," Journal of Religion & Film: Vol. 24 : Iss. 1 , Article 59. Available at: https://digitalcommons.unomaha.edu/jrf/vol24/iss1/59 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. No Riddle but Time: Historical Consciousness in Two Islamicate Films Abstract This article explores ways in which film expresses “internal history” in the context of Muslim cultures. As such, it enquires how film can work as both Islamic art and historical contemplation. The films discussed here, Nacer Khemir’s Wanderers in the Desert and Muhammad Rasoulof’s Iron Island, inhabit and explore the borderline between imagination and reality. The films in question offer an imaginal interspace between “modern” and “traditional” worlds. As such they open up critical perspectives on the meaning of history. What follows is a discussion of how each film offers a window onto differing perceptions of time, and what may be glimpsed through this window. Keywords Islam, Sufism, surrealism, history, historiography, barzakh, time Author Notes David Sander is Assistant Professor of History at Stonehill College.
    [Show full text]