I would have had the same narrative, regardless of the atmosphere and the restrictions.
From Asghar Farhadi
Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
The fact is I'm not making a film in order to draw pictures or make images about Iran.
There are those who simply want to live their lives, and feel they cannot live the way they want to in Iran. Others are ideologically motivated: They will stay no matter what and try to change things.
I gained a great deal from the period during which I worked in theater and I value those things a great deal.
Poetry, especially traditional Iranian poetry, is very good at looking at things from a number of different angles simultaneously.
If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
For the Americans, it is not attractive to hear what the similarities are between them and the Iranian people. It is attractive to hear how different the Iranians are.
I can't make pronouncements about the entirety of Iranian cinema, because there's such a great number of filmmakers and because of the diversity of points of view and filmmaking attitudes.
Art removes boundaries and makes the world brighter. It is the common language for people all over the world. But politics are the opposite completely. Politicians, their very meaning is based on the lines they draw.
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