For this, Iran got back almost $60 billion. Iran has mothballed thousands of centrifuges necessary to enrich uranium, and has removed the core of its heavy water reactor at Arak so it can’t produce a plutonium bomb. By the end of 2016, Iran had shipped to Russia nearly its entire fissionable stockpile of over 12 tons of enriched uranium. Iran is actually meeting the terms of the nuclear deal hammered out in Switzerland in 2015 by the United States-led P5+1 Group. Discussing giving Japan and Korea (previously known as South Korea) nuclear weapons is scary enough, but talking about tearing up the Iran nuclear agreement is even worse. The Tehran Bureau is an independent media organisation, hosted by the Guardian.With regard to weapons, the two big issues are Iran and the Democratic People’s Republic of Korea (North Korea in the old parlance).
The silver screen will portray two very different - yet both deeply scarred - Irans. What are going to be the most successful films at Nowruz around the country? I’d say Bodyguard, and Life Without Parole. Nonetheless, Fajr shows that feature films are now being made by dozens of short-film directors, assistant directors and writers in their late twenties to late thirties, people who have worked behind the scenes for years. After receiving a screening permit, films must gain screening time from Shorayeh Senfiyeh Namayesh, a screening union that used to be based at Khaneyeh Sinama (house of cinema), Iran’s cinema guild, but is now co-managed with the ministry of culture and Islamic guidance. Why should films that have already had so much media attention during Fajr also get the best screenings? Shouldn’t they be left for less known films? And why does Ebrahim Hatamikiya always get the Nowruz premieres? One debate long a part of Iranian cinema is whether the most popular Fajr films should get the coveted holiday-season screenings, beginning with Nowruz in late March. Many films are shot in north Iran, so it was good to have Lakzadeh as well as Haqiqi exploring the intriguing beauty of Iran’s Persian Gulf islands. Instead he lies in a corner of the house in a perpetual daze, leading his grandson to believe he is possessed.įirst time director Lakzadeh’s Qeychi (scissors), shot in Tehran, on a train and on Hormuz Island in the Persian Gulf, follows a lone protagonist as he runs away from the consequences of a heinous crime – only to find that it is himself that he cannot escape. Mamiroo shot entirely in Kohgiluyeh and Boyerahmad province - which means ‘immortal’ in local dialect - used minimal dialogue in depicting the world of a young man, who has lost everyone in his small village household, except for his grandfather, who can neither die nor fully live. Haunting cinematography added to the mystery of the story. Qassemi told a tragic love story set in the harsh winters of Talesh, north Iran.
In Art and Experience Cinema, which is only slowly finding its way as an independent section (both at Fajr and select cinemas throughout the year), the highlights were Ali Mohammad Qassemi’s The Mad Lover and the Dog, Hadi Mohaqeq’s Mamiroo and Karim Lakzadeh’s Scissors. Such popularity is important to Fajr, which sees itself both as the vitrine showcasing Iranian cinema to the world and as the mardomi (people’s) festival. Given the high demand this year for films like Life Without Parole, Bodyguard and Enter the Dragon, cinemas scheduled special screenings as late as 2am, when queues were still like rush hour on the metro.
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While the best supporting actor prize went to Navid Mohammadzadeh for Life Without Parole, and best actor to Parviz Parastooie for Bodyguard, Jadidi deserved both accolades for his supporting performance in Me and his starring role in Enter the Dragon.Īttendances were high at Fajr, with both critics and filmmakers recalling the first decade after the festival was launched in 1983, a time when movie fans queued overnight during Tehran’s cold winters. Amir Jadidi and Behnoush Bakhtiari shine. With her usual shy, quiet demeanour, Leila Hatami takes the central role of a mysterious criminal hustler involved in everything from smuggling refugees to million-dollar land sales. Me, directed by the young Soheil Beiraqi, a former assistant to director Abdoreza Kahani, was another Fajr surprise. But audiences selected it among their five favourite films of the festival.
With reality and myth, truth and lies, so entwined, film critic Javad Tousi called the film “intellectual charlatanism”. Viewers cannot be sure if words they speak are fact or fiction. Haqiqi connects the story to today’s Tehran through an old chest found in a basement and includes footage of political commentators Sadeq Zibakalam and Saeed Hajjarian. While it references the 1960s, none of the dates is accurate and none of the events depicted took place.
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