Among the must-see movies in the history of cinema, Iranian films play an important role. While the West is experiencing a phase of artistic decline that seems inexorable compared to the turmoil of the 60s and 70s, some Eastern and Middle Eastern countries seem increasingly oriented towards creating arthouse films and interesting artistic experiments. This is the case with Iranian cinema.
The cause is probably to be found in difficult living conditions, often on the verge of survival. The more a country seems to have a difficult relationship with material well-being, the more it seems to produce an extreme, new, necessary cinema of spiritual survival.
Iranian cinema is considered to be among the most important arthouse cinemas in the world, and reached its greatest notoriety during the 1990s. Theatrical programming is dominated by Iranian commercial films such as westerns. The production of arthouse films is very lively, especially in the independent sector where films are made for a home video circuit.
Some films are shown in international festivals and are shown in Iranian cinemas, becoming more popular.
The Iranian Commercial Films
The commercial Iranian cinema is unknown in the West and is not exported. It is aimed at a young audience under 30, and is a cinema designed specifically for local audiences.
It differs into three different categories. Films about the Iranian revolution of 1979 and the Iran-Iraq war. They are films full of patriotism and religious dogmas. For example titles like Eagles, Barzakhiha, The Viper, Dadshah, Boycott, Duel, Taraj, Ekhrajiha, The Glass Agency, Kani Manga, Ofogh, Bashu, the Little Stranger, Leily Ba Man Ast, M as in Mother and The Night Bus.
The most successful Iranian films are mostly romantic comedies commercial. After the war, people always looked for an escape and sentimental stories in the cinema to daydream. This genre of film, from the 80s onwards, makes more money than all the others. For a long time, the most beloved face of Iranian commercial cinema was actor Mohammad Ali Fardin. However, he was considered a scandalous character by Islamic conservatives after the 1979 revolution: he was the interpreter of characters always in search of strong emotions, alcohol, drugs, women, night clubs.
A character specially designed to be successful that made Iranian cinema audiences dream with a dissolute and sinful Western lifestyle. The Islamic government blocked his films and barred him from working, but the actor’s popularity remained intact until his death.
A real popular crowd was present at his funeral. Mohammad Ali Fardin represented for the Iranian cinema audience that lifestyle that is impossible to obtain in Iran, for which the population still yearns. When there is poverty and conflict, it is normal to desire greater material well-being, even if the model proposed by the West seems to be a model of self-destruction. But at this time there are no other models.
Officially the Iranian government disdains American cinema but does not prevent it from being distributed in Iran. The criticism of the government and of the Islamic religion is that American cinema is not a cinema that bears values, but a commercial product for its own sake, without ethics and morals. Despite this, most of the films circulating in Iranian cinemas and home video stores are US films that are hugely successful.
American films such as those of Steven Spielberg, Brian De Palma, Mel Gibson, the 007 saga, make up most of the film market share in Iran, and are hugely successful, especially among young people. Television also broadcasts them regularly to exploit their audience.
New Wave of Iranian cinema
New Iranian Wave was the most important artistic movement of Iranian cinema, since the beginning of the sixties.documentaryis indicated as the progenitor of the movement Forough Farrokhzad’sThe house is black. The movement then finally begins in 1964 with the film Hajir Darioush, based on the novel The Lover of Lady Chatterley.
In 1968 the film Shohare Ahoo Khanoom directed by Davoud Mollapour was released in 1969 The Cow, directed by Dario Mehrjui, was followed by film Masoud Kimiai’s Qeysar. Then it’s time for Nasser Taqvai with the film Tranquility in the presence of others. The New Wave becomes a cultural and artistic trend, in which famous intellectuals are interested.
The cinematic New Wave of the 1960s also involves Iran, spreading from France to various countries around the world. The first directors of the Iranian New Wave are Forough Farrokhzad, Sohrab Shahid Saless, Bahram Beizai and Parviz Kimiai.
The Sixties are a period in which audiences and directors from all over the world question the contents offered to them by the industry. There is an air of renewal that is transmitted, precisely, like a new wave.
The most important directors who have established themselves in the Iranian New Wave over the years are Abbas Kiarostami, Jafar Panahi, Majid Majidi, Bahram Beizai, Dario Mehrjui, Mohsen Makhmalbaf, Khosrow Sinai, Sohrab Shahid-Saless, Parviz Kimiavi, Samira Makhmalbaf, Amir Naderi, and Abolfazl Jalili. They treated Iranian politics, philosophy and culture like never before.
The artistic climate in Iran had changed since the coup d’etat of 19 August 1953. A great ferment had begun, especially thanks to the golden age of Persian literature. This turmoil culminated in the 1960s with the creation of several art movements and the Iranian New Wave. A type of film that we could define as postmodern.
The Iranian films of the New Wave have a style strongly inspired by Italian Neorealism, but they differ in some characteristics. Neorealist films tell reality but with actors and fiction. The Iranian cinema identifies with the production methods of the best independent cinema, where there is no clear boundary between documentary and fiction, between reality and staging.
New Wave Iranian cinema comes to influence European films such as some productions by Michael Winterbottom. An example of this type of cinema in the most recent independent Italian production is for example Fabio del Greco’s The smartphone woman, Appennino by Emiliano Dante, and many other Italian indie films that make reality their strong point.
Iranian film critics see the possibility of freeing themselves from the univocal representation of Islamic man in modern Iranian film. It is finally a question of telling the individual in the flow of history and not within religious representations.
the third generation of Iranian director-authors is made up of names such as Rafi Pitts, Bahman Ghobadi, Maziar Miri, Asghar Farhadi, Mani Haghighi and Babak Payami, Saman Salur and Abdolreza Kahani.
Iranian female films
After the rise in popularity of Iranian arthouse cinema, many women graduate every year in the country’s film schools. Iranian women’s cinema is experiencing a golden age, with directors such as Samira Makhmalbaf, who made her first film, The Apple, when she was only 17. He then won the Jury Prize at Cannes in 2000 for his next film, The Blackboard.
The most important Iranian female directors, known inside and outside Iraq, are Rakhshan Bani-Etemad, Samira Makhmalbaf, Tahmineh Milani, Niki Karimi.
Marjane Satrapi, animation director and illustrator, winner of awards at the Cannes Film Festival and the Rotterdam Film Festival. Tahmineh Milani, winner of important awards in Arab and Oriental Festivals and winner of the Los Angeles Film Festival for The Unwanted Woman Movie, a 2005 film.
Rakhshan Bani-Etemad began her career in 1995 with her film The Blue-Veiled at Locarno Film Festival. Since then, his subsequent films have been selected in the most important international festivals, such as the Moscow Festival and the Turin Film Festival. Her film Tales was selected at the Venice Film Festival in 2014.
Other award-winning women directors of Iranian cinema are: Manijeh Hekmat and the films Zendane Zanan, Pouran Derakhshandeh. Niki Karimi, Marzieh Meshkini, Hana Makhmalbaf.
Iranian war films
Iranian war cinema was born during the Iran-Iraq conflict. Some particularly inspired and poetic films have been made such as In the Alleys of Love (1990), by Khosrow Sinai. The film was produced by the Iranian government but had several difficulties in making.
Iranian war cinema has always had the aim of spreading propaganda messages, where war is seen in a positive way, as a mission for the betterment of society. But films like Tears of Cold and Duel have surpassed this sanctioned government-enforced vision. Many war film directors of Italian cinema have had considerable success.
Iranian animation cinema
Iranian artists have a very ancient tradition in the making of animations. An important animation film festival is held in Tehran. The main directors at Iranian animation cinema are: Noureddin Zarrin-Kelk, Bahram Azimi, Ali Akbar Sadeghi.
French Influence on the Iranian New Wave
Iranian New Wave cinema has had a strong connection with the French New Wave. Many Iranian students from the 1950s and 1960s emigrated to France to study and Iranian UN Ambassador Fereydoun Hoveyda it played an important role in the French cultural scene. In particular he was well known in the world of cinema and was a friend of Francois Truffaut. He contributed to the creation of the famous magazine Le Cahier du cinema and also worked with the Italian director Roberto Rossellini so there was a bridge between the culture of French cinema and the culture of Iranian cinema.
Jacques Prévert’s girlfriend Shusha Guppy was an Iranian singer and director. Thecomposer of the early films truffaut Francois and Jean-Luc Godard was Serge Rezvani,Iranian poet born in Tehran. Farah Diba Ha studied at the Academy of Fine Arts in France and became a permanent member of it. Other Iranian artists began their artistic careers in France, such as Robert Hossein.
Censorship in Iranian cinema
Iranian cinema has always enjoyed the activity of countless artists of great value, but they have regularly had to deal with the strict rules of censorship, before and after the revolution. Some Iranian directors have found it difficult to distribute their films overseas. Pioneering Iranian New Wave film The Cow’s 1969 Dariush Mehrjui was produced by the state. But the same state censored it at the time of distribution because the Shah did not want that vision of rural life to spread at a time when the priority was the progressive image of Iran. The film and its festival awards has long bothered the regime.
After the Iranian revolution, many filmmakers have been victims of censorship, which has diminished since 1987. The application of the rules is often arbitrary: some films are blocked, others are allowed to be exported abroad. The evaluation criteria are rather inconsistent. all offilms Jafar Panahi’s have been blocked by censorship. Many offilms Mohsen Makhmalbaf’s are banned in Iran, such as Time of Love, due to erotic scenes and critical views on the revolution. Feminist director Tahmineh Milani was jailed for making the film The Hidden Half because its content was deemed anti-revolutionary. Many Iranian artists and directors have asked for his release which took place after 8 days of imprisonment.
In Nargess , Rakhshan Bani-Etemad, another Iranian female director, questions the morality of society, pushing herself to the limits of censorship codes. Abbas Kiarostami is a famous director in Europe but the Islamic government has always blocked the screening of his films. In Iran, his works can only be found on illegal DVDs and clandestine screenings.
Kiarostami doesn’t have a clear idea of what the government doesn’t like about his films and says: “I think they don’t understand my films and so they prevent me from distributing them in case there is a message they don’t want to release.” Although Kiarostami always wanted to stay in Iran to create his new films. He says: “The most important thing today is that despite the censorship, Iranian filmmakers can do their job and overcome difficulties. Difficulties have always existed in our country and our role is to overcome them.
Iranian Films to Watch
House Is Black (1962)
“House Is Black” is an Iranian documentary short film directed by Forugh Farrokhzad in 1962. This film is known for being one of the most influential works of the Iranian director and poet, as well as one of the most important documentaries in the history of Iranian cinema.
The film is a touching and poetic portrait of life in a leper colony in northern Iran. Through evocative images and a poetic narrative voice, Farrokhzad explores the stark and often forgotten reality of lepers and their lives. The film captures their humanity, their suffering and their resilience, offering an empathetic look at the human condition.
One of the most notable features of “House Is Black” is the use of poetry. Forugh Farrokhzad was a renowned poet, and in the film, her narrator declaims poems that provide emotional and intellectual context to the visual narrative. These poems add a depth and artistic dimension to the film, helping to convey the essence of the human experience in the difficult circumstances of the leper colony.
The film was well received by critics and earned recognition at several international film festivals. It is often considered a masterpiece of documentary cinema and an important contribution to Iranian film culture. The poetics and humanity of “House Is Black” have influenced subsequent generations of filmmakers and continue to be studied and celebrated across the global cinematic landscape.
The Cow (1969)
“The Cow” (Persian: گاو, Gāv) is an Iranian film directed by Dariush Mehrjui in 1969 and is one of the most iconic and influential films in the history of Iranian cinema. The film is based on a short story by Gholam-Hossein Sa’edi and represents a turning point in Persian cinema.
The plot of “The Cow” revolves around a poor farmer named Hassan, who lives in a small Iranian village and has a deep affinity with his only cow, also called Hassan. The cow is Hassan’s only source of livelihood, and his life is centered around it. However, when the cow suddenly dies, Hassan finds himself in a state of deep despair. The villagers, worried about his mental health, try to convince him that the cow is alive and well, but this illusion leads him to a dark path of madness.
The film is known for its intense and metaphorical depiction of loss and madness, and the character of Hassan is played amazingly by actor Ezzatolah Entezami. The story also reflects broader themes, such as poverty, tradition and superstition that were common in many rural Iranian communities at the time.
“The Cow” was one of the first Iranian films to attract international attention and helped establish Iranian cinema’s reputation as a highly valued art form. The film won several awards at international film festivals and was critically acclaimed for its profound reflection on the human condition and society. It is a classic of world cinema and an important landmark in the history of Iranian cinema.
Mrs. Ahu’s Husband (1968)
“Shohare Ahoo Khanoom” is a 1990 Iranian film directed by Davoud Mollapour. This film is known to be a romantic comedy and has gained some popularity among Iranian audiences.
The plot of “Shohare Ahoo Khanoom” revolves around the love affairs and family dynamics of Ahoo Khanoom, played by Shahla Riahi, and her husband. The film explores the conflicts and ups and downs of their relationships, with a touch of humor and romance.
While “Shohare Ahoo Khanoom” may not be one of the best-known Iranian films internationally, it is appreciated within Iran for its light entertainment and its depiction of family and marital dynamics. Davoud Mollapour is an Iranian director known for his comedies and this film is an example of his work in this genre.
“Qeysar” is an Iranian film directed by Masoud Kimiai and is considered one of the masterpieces of Iranian cinema. The film was released in 1969 and is known for its significant impact on Iranian cinematography and its bold depiction of society and morality.
The plot of “Qeysar” revolves around the main character, Qeysar, played by Behrouz Vossoughi, a man who seeks revenge for the death of his sister due to a matter of honor. The film explores themes of justice, revenge, tradition and morality in a traditional Iranian society.
“Qeysar” is known for its distinctive visual style and complex narrative. It was a major success in Iran and helped define the genre of action and drama cinema in the country. Masoud Kimiai is a renowned director in Iranian cinema, and “Qeysar” is one of his most famous and influential films.
Bita is a 1972 Iranian drama film directed by Hajir Darioush and starring Googoosh. The film tells the story of a young woman named Bita who struggles to come to terms with the social barriers she faces.
The film is set in Tehran in the early 1970s. Bita is a young woman from a poor family. She is intelligent and independent, but must also face society’s traditional expectations. She is expected to marry a man of her family’s choice and is not allowed to pursue her dreams.
Bita falls in love with a young man named Korush, but their relationship is forbidden. Korush is from a rich family and his parents would never approve of him marrying a girl like Bita.
The film follows Bita as he struggles to find his place in the world. She is torn between her dreams and society’s expectations. Ultimately, he finds the strength to follow his heart, even if it means going against his family’s wishes.
Bita is a powerful and moving film that explores the themes of love, freedom and self-determination. It is a must for anyone interested in Iranian cinema or the women’s rights movement.
Here are some additional details about the film:
- The film was a critical and commercial success, and was awarded the Crystal Simorgh for Best Film at the Fajr Film Festival in 1972.
- It is considered one of the most important films of new Iranian cinema.
- The film was shot in black and white.
- The film’s soundtrack was composed by Loris Tjeknavorian.
Bita is an important film in the history of Iranian cinema. He helped introduce Iranian cinema to the world and inspired generations of directors and filmmakers.
Tranquility in the Presence of Others (1972)
The film “Tranquility in the Presence of Others” (Persian: آرامش در حضور دیگران) is a work by the Iranian director Nasser Taqvai, released in 1972. This film is known for its sensitivity and poetic depiction of life in rural regions of Iran.
The plot of “Tranquility in the Presence of Others” focuses on a young nomadic shepherd and his experiences as he leads his flock through the Iranian desert. The film captures the beauty of nature and the traditions of rural communities, exploring the connection between humans and the environment.
Nasser Taqvai is known for his ability to bring to light the essence of Iranian rural life through cinema, and “Tranquility in the Presence of Others” is an eloquent example of this skill. The film has been appreciated both nationally and internationally for its visual and lyrical storytelling.
The Eagles is a 1984 Iranian film directed by Samuel Khachikian. The film is based on a true story and tells the story of an Iranian pilot who is shot down during the Iran-Iraq war and must find a way to return home.
The film is set in Iran and Iraq and has a stellar cast including Saeed Rad, Jamshid Hashempour and Zari Boroomand.
Lieutenant Reza Amini (Rad) is an Iranian fighter pilot who is shot down during combat action over Iraqi territory. Amini manages to survive the shooting, but finds himself lost and alone in enemy territory.
The Eagles is an epic film that tells the story of an Iranian hero fighting for his homeland. The film was praised for its realistic depiction of war and its heroic story.
The film is also important because it is one of the first Iranian war films to be released internationally. The film helped introduce Iranian cinema to the world and helped establish Khachikian’s reputation as one of Iranian cinema’s most important directors.
Here are some additional details about the film:
- The film was shot in Iran and Iraq.
- The film had a budget of $10 million, which was a very high budget for an Iranian film at the time.
- The film was a critical and commercial success, and was praised for its realistic portrayal of war and its heroic story.
The Eagles is an important film for Iranian cinema and has helped introduce Iranian cinema to the world.
The film “Boycott” is a well-known Iranian film directed by Mohsen Makhmalbaf. It was released in 1985 and is an important film in Iranian cinema.
The plot of the film “Boycott” revolves around a group of Iranian students who decide to boycott their exams to protest their government’s oppressive policies. The film deals with themes of protest, freedom of expression and political repression, reflecting the political tensions and challenges of the time.
“Boycott” is known for its bold and courageous approach to political and social issues in Iran and is considered an important contribution to contemporary Iranian cinema. Mohsen Makhmalbaf is an internationally renowned Iranian director known for his commitment to social and political cinema, and “Boycott” is one of his most recognized works.
Kani Manga (1988)
Kani Manga is a war film Iranian directed by Seifollah Dad and released in 1988. It tells the story of an Iraqi pilot whose plane is shot down during the Iran-Iraq War and he parachutes into the Kurdish mountains. Two groups are on his trail: a group of Iranian rangers who have been tasked with capturing him, and a Kurdish group who wants to save him from the Iranians.
The film stars Faramarz Gharibian, Ali Sabetfar, Abdolreza Akbari, Kazem Afrandnia and Reza Rooygari. It was awarded two Crystal Simorgos at the Fajr Film Festival, for Best Editing and Best Special Effects.
Kani Manga is a well-made and suspenseful film that offers a unique perspective on the Iran-Iraq war. It is a must for fans of Iranian cinema and war films.
Here are some additional details about the film:
- The film was shot on location in the Kurdistan Region of Iran.
- The film’s title, Kani Manga, is the name of a mountain range in the Kurdistan region.
- The film was made on a relatively low budget, but was a critical and commercial success.
- The film was banned in Iraq for many years.
Kani Manga is an important film that offers significant insight into the Iran-Iraq war. It is a film that should be seen by all who are interested in Iranian history and culture.
In the Alleys of Love (1990)
“In the Alleys of Love” (Persian: “در کوچههای عشق”) is a 1990 Iranian film directed by Khosrow Sinai. This film is known to be one of the significant works of Iranian cinema and deals with themes of love, tradition and modernity.
The plot of “In the Alleys of Love” revolves around the story of a young woman, played by Leila Hatami, who is in love with a man, but their relationship is hindered by cultural traditions and social pressures. The film explores the challenges they face in pursuing their love.
This film is known for its visual style and sensitive storytelling. It is considered a classic of Iranian cinema and helped consolidate Khosrow Sinai’s reputation as a talented director in cinematic Iran.
The Apple (1998)
“The Apple” is a 1998 Iranian film written and directed by Samira Makhmalbaf. This film is known for its touching narrative based on true events.
The plot of “The Apple” is based on the story of two disabled twins, Massoumeh and Zahra, who grew up in isolation from their family for many years. When the Iranian government discovers their situation, it intervenes and brings the twins back to society, but with unexpected consequences.
The film addresses themes of disability, social isolation, motherhood and understanding. “The Apple” is known for its humane and touching approach to the story of the twins and has received positive reviews from international critics.
Samira Makhmalbaf, the director, is known for her work in tackling complex social issues through cinema, and “The Apple” is one of her most acclaimed films.
The Glass Agency (1998)
“The Glass Agency” is an Iranian film directed by Ebrahim Hatamikia in 1998. This film is also known by its original title “Vezārat-e Fanniyeh-e Goshi” in Persian.
The plot of “The Glass Agency” takes place during the Iran-Iraq War (1980-1988) and follows the story of a group of Iranian children orphaned by the conflict. These children try to survive and cope with the challenges of war, and the film explores their experiences and the difficulties they face.
The film is known for its emotional and humanitarian approach to the depiction of war and its consequences on the lives of ordinary people, especially children. Ebrahim Hatamikia is a director known for his commitment to social and political cinema, and “The Glass Agency” is one of his most recognized works that deals with the theme of war and humanity.
Under the skin of the City (2001)
“Under the Skin of the City” is an Iranian film directed by Rakhshan Bani-Etemad. The film was released in 2001 and is known for exploring the challenges and difficulties faced by ordinary people in Iran, especially women, in a complex social and political context.
The film’s plot follows the story of a woman named Tuba, played by actress Golab Adineh, who tries to support her family amidst financial difficulties and social changes.
The film addresses issues such as unemployment, poverty, the fight for women’s rights and political tension in Iran.
“Under the Skin of the City” received positive reviews from critics and gained recognition at various international film festivals. Rakhshan Bani-Etemad is a filmmaker known for her commitment to bringing social and political issues to light through cinema, and this film is a significant example of her work.
I’m Taraneh, 15 (2002)
“I’m Taraneh, 15” is an Iranian film directed by Rassul Sadr Ameli. The film was released in 2002 and is known for tackling complex issues such as teenage motherhood and gender discrimination in a traditional society.
The story revolves around Taraneh, a young 15-year-old girl who becomes pregnant after a brief relationship with a boy. The film explores the difficulties and challenges she faces as she tries to care for her baby and navigate social pressures.
“I’m Taraneh, 15” received positive reviews from critics and won numerous awards at various international film festivals. Director Rassul Sadr Ameli is known for his ability to tackle complex social issues in his films, and this is one of his most acclaimed works.
Marooned in Iraq (2002)
“Marooned in Iraq” is a film directed by Bahman Ghobadi, an Iranian director of Kurdish origin. The film was released in 2002 and is known for its depiction of the difficult living conditions of Kurdish people in the region of Iraq during the post-Gulf War period.
The plot of the film follows the story of an elderly musician named Mirza and his two sons, a traveling musical group that travels through conflict zones in Iraq to search for Mirza’s wife. The film explores themes of war, exile, Kurdish culture and the power of music in the midst of chaos.
“Marooned in Iraq” was critically acclaimed for its authentic and moving depiction of the lives of ordinary people in a war-torn region. The film helped bring Bahman Ghobadi’s work to international attention and won several awards at film festivals.
Women’s Prison (2002)
“Women’s Prison” is an Iranian film directed by Manijeh Hekmat. The film was released in 2002 and is known for exploring the lives of women held in an Iranian prison, tackling themes of oppression, injustice and resilience.
The film’s plot follows the stories of several inmates, each with their own background and history, as they try to survive the harsh conditions inside the prison. The film highlights the challenges and injustices these women face, often due to the social and political circumstances in Iran.
“Women’s Prison” has been praised for its realistic portrayal of the lives of women prisoners and its social commentary. Manijeh Hekmat is a filmmaker committed to bringing important issues to light through cinema, and this film is a significant example of her work in the field of social and political cinema.
Duel is a 2004 Iranian film directed by Ahmad Reza Darvish. The film is set in a rural Iranian village and tells the story of two men, Abolfazl and Ali, who fall in love with the same woman, Maryam. The three characters are involved in a duel for Maryam’s heart.
The film is an exploration of the themes of love, jealousy and revenge. It is also an important film because it is one of the first Iranian films to explore the theme of same-sex love.
Abolfazl and Ali are two childhood friends who live in a small rural Iranian village. Abolfazl is a gentle and sensitive man, while Ali is a stronger and more decisive man.
One day, Abolfazl and Ali both fall in love with Maryam, a young woman from the village. Maryam is a beautiful and intelligent woman, and the two men are both attracted to her.
Maryam is initially undecided about who to choose, but ultimately chooses Abolfazl. Ali is devastated by Maryam’s rejection, and begins to feel a deep hatred for Abolfazl.
Duel is a complex and thought-provoking film that explores important themes such as love, jealousy and revenge. The film is also an important film for Iranian cinema because it is one of the first Iranian films to explore the theme of same-sex love.
The film was praised for its direction, its performance and its courageous depiction of the theme of same-sex love.
The Tear of the Cold (2004)
Cold Tears is a 2004 Iranian drama film directed by Azizollah Hamidnezhad. It tells the story of a soldier and a Kurdish girl who, despite their seemingly opposing circumstances, come to a new understanding of the concept of hostility.
Here are some additional details about the film:
- The film was shot in the Kurdistan Region of Iran.
- The title of the film, Tears of Cold, is a metaphor for the pain and suffering of war.
- The film was praised for its realistic portrayal of war and its sensitive handling of the theme of love.
- The film was controversial in Iran and was banned for a period of time.
The film is set during the Iran-Iraq war. An Iranian soldier, Mohammad (Goodarzi), is wounded in battle and taken to a Kurdish village for treatment. There he meets a young Kurdish girl, Azadeh (Farahani), who helps him heal.
Despite their cultural and religious differences, Mohammad and Azadeh begin to fall in love. However, their love is hindered by war and violence.
Cold Tears is an important film because it offers a different perspective on the Iran-Iraq war. The film not only focuses on the military aspects of the war, but also on the humanitarian consequences. It shows how war can destroy lives and relationships, but also how it can lead to love and understanding.
The film “Mohajer” directed by Ebrahim Hatamikia is a 1991 Iranian drama that gained recognition for its poignant depiction of the lives of Iranian refugees during the Iran-Iraq War. The term “Mohajer” refers to refugees who sought to escape conflict zones and who had the arduous task of seeking a better life elsewhere.
The film sensitively addresses the difficulties these refugees face during their journey, including danger, hunger, desperation and fear. At the same time, it shows the strength of humanity and the determination to seek a better life in the midst of adversity.
“Mohajer” is known for its realistic portrayal and ability to convey the humanity behind the refugee figures. Director Ebrahim Hatamikia helped bring important social and humanitarian issues to light through this film, which has gained recognition both nationally and internationally for its emotional impact and engaging storytelling.
From Karkheh to Rhein (1993)
“From Karkheh to Rhein” is a 1993 Iranian film directed by Ebrahim Hatamikia. This film is also known by the title “From Karkheh to Rhein” in English.
The plot of revolves around the events of the Iran-Iraq War (1980-1988) and follows the lives of a group of Iranian soldiers during this conflict. The film explores their experiences, the difficulties they face and the psychological consequences of war.
This film is known for its realistic and moving depiction of the lives of soldiers involved in the war. Ebrahim Hatamikia is a filmmaker known for his commitment to bringing important issues to light through cinema, and “From Karkheh to Rhein” is one of his most significant works that addresses the theme of war and humanity in extreme circumstances.