Showing posts with label Iranian film. Show all posts
Showing posts with label Iranian film. Show all posts

Forugh Farrokhzad

 she was born on January 5, 1935 in Tehran into a middle class family of seven children (the third of seven children). She attended public schools through the ninth grade, thereafter graduating from junior high school at the age of fifteen; 
she transferred to Kamalolmolk Technical School, where she studied dressmaking and painting. 

In 1951 at sixteen Forough married her cousin Parviz Shapour over the objections of families mainly because of Shapour's age. And a year later Forough's first and only son "Kamyar" was born. Frough separated from Parviz Shapour in 1954. Forough relinquished her son to her ex-husband's family in order to pursue her calling in poetry and independent life style. 

In 1955 Forough's first collection, titled Asir (The Captive), contains forty-four poems was published. And in September that year she suffered a nervous breakdown and was taken to a psychiatric clinic. 

In July 1956 Forough left Iran for the first time on a nine-months trip to Europe. In this year her second volume of verse, containing twenty-five short lyrics, called Divar (The Wall), was published, dedicated to her former husband. 

In 1958 Forough's third collection Esian (Rebellion), appeared and securely established her as promising yet notorious poet. Forough's relationship with the controversial writer and cinematographer Ebrahim Golestan began and remained important in the poet's personal life until her death. 

Forough Farrokhzad
as film maker
In 1962 she made a documentary movie about a leper's colony, titled "The House Is Black". The movie was acclaimed internationally and won several prizes. 

In 1963 UNESCO produced a thirty minutes movie about Forough. Also Bernardo Bertolucci came to Iran to Interview her and decided to produce a fifteen minutes movie about the poet's life. 

In 1964 Forough's fourth poetry collection, Tavallodi Digar (Another Birth), contained thirty-five poems which the poet had composed over a period of nearly six years was published. 

In 1965 Forough's fifth collection of verse called "Let Us Believe In The Beginning Of The Cold Season" is in print and was published after her death. 

On Monday February 14, 1967 Forough visited her mother, who later recalled their conversation over lunch as the nicest that they ever had. From her mother's home, on the way back, with Forough driving, at the intersection of Marvdasht and Loqumanoddowleh Streets in Darrus, her jeep station wagon swerved to avoid an oncoming vehicle and struck a wall. Thrown from her car, at the height of her creativity and barely thirty-two Forough Farrokhzad died of head injuries. She was buried beneath the falling snow in the Zahiro-Doleh in Tehran. 

She clearly voices her feelings in the mid-1950s about conventional marriage, the plight of women in Iran, and her own situation as a wife and mother no longer able to live a conventional life in such poems as "The Captive", "The Wedding Band", "Call to Arms", and "To My Sister". As a divorcee poet in Tehran, Farrokhzad attracted much attention and considerable disapproval. She had several short lived relationships with men, and "The Sin" describes one of them. 

by Iran Chamber Society

Someone Who Is Not Like Anyone (1966)

I've had a dream that someone is coming.
I've dreamt of a red star,
and my eyes lids keep twitching
and my shoes keep snapping to attention
and may I go blind
if I'm lying.

I've dreamt of that red star
when I wasn't asleep.

Someone is coming,
someone is coming
someone better,
someone who is like no one,
not like Father,
not like Ensi,
not like Yahya
not like Mother,
and is like the person who he ought to be.
and his height is greater than the trees
around the overseer's house,
and his face is brighter
than the face of the mahdi,
and he's not even afraid
Of Sayyed Javad's brother
who has gone
and put on a policeman's uniform.
and he's not even afraid of Sayyed Javad himself
who owns all the rooms of our house.
and his name just like Mother
says it at the beginning
and at the end of prayers
is either 'judge of judges'
or 'need of needs'.

And with his eyes closed
he can recite
all the hard words
in the third grade book,
and he can even take away a thousand
from twenty million without coming up short.
and he can buy on credit
however much he needs
from Sayyed Javad's store.
And he can do something
so that the neon Allah sign
which was as green as dawn
will shine again
in the sky above the Meftahiyan Mosque.

how good bright light is,
how good bright light is,
and I want so much
for Yahya
to have a cart
and a small lantern,
and I want so much
to sit on Yahya's cart
in the middle of the melons
and ride around Mohammadiyeh Square.

how great it is to ride around the square,
how great it is to sleep on the roof,
how great going to Melli Park is,
how good going to test of Pepsi is
how wonderful Fardin's movies are,
and how I like all good things.
and I want so much
to pull Sayyed Javad's daughter's hair.

why am I so small
that I can get lost on the streets?
why doesn't my father
who isn't this small
and who doesn't get lost on the streets
do something so that the person
who has appeared in my dreams
will speed up his arrival?
And the people in the slaughter-house
where even the earth in their gardens
is bloody
and even the water in their courtyard pools
is bloody
and even their shoe soles are bloody,
why don't they do something ?
how lazy the winter sunshine is.

I've swept the stairs to the roof
and I've washed the windows too.
How come Father has to the dream
Only in his sleep?
I've swept the stairs to the roof
and I've washed the windows too.

Someone is coming,
someone is coming,
someone who in his heart is with us,
in his breathing is with us,
in his voice is with us,
someone whose coming
can't be stopped
and handcuffed and thrown in jail,
someone who's been born
under Yahya's old clothes,
and day by day
grows bigger and bigger,
someone from the rain,
from the sound of rain splashing,
from among the whispering petunias.
someone is coming from the sky
at Tupkhaneh Square
on the night of the fireworks
to spread out the table cloth
and divide up the bread
and pass out the Pepsi
and divide up Melli Park
and pass out the whooping cough syrup
and pass out the slips on registration day
and give everybody hospital
waiting room numbers
and distribute the rubber boots
and pass out Fardin movie tickets
and give away Sayyed Javad's
daughter's dresses
and give away whatever doesn't sell
and even give us our share.
I've had a dream.

by Michael Hillmann 

My whole being is a dark chant 
which will carry you 
perpetuating you 
to the dawn of eternal growths and blossoming 
in this chant I sighed you sighed 
in this chant 
I grafted you to the tree to the water to the fire.

Life is perhaps 
a long street through which a woman holding 
a basket passes every day

Life is perhaps
a rope with which a man hangs himself from a branch
life is perhaps a child returning home from school.

Life is perhaps lighting up a cigarette
in the narcotic repose between two love makings
or the absent gaze of a passerby
who takes off his hat to another passerby
with a meaningless smile and a good morning .

Life is perhaps that enclosed moment
when my gaze destroys itself in the pupil of your eyes
and it is in the feeling
which I will put into the Moon's impression
and the Night's perception.

In a room as big as loneliness
my heart
which is as big as love
looks at the simple pretexts of its happiness
at the beautiful decay of flowers in the vase
at the sapling you planted in our garden
and the song of canaries
which sing to the size of a window.

this is my lot
this is my lot
my lot is
a sky which is taken away at the drop of a curtain
my lot is going down a flight of disused stairs
a regain something amid putrefaction and nostalgia
my lot is a sad promenade in the garden of memories
and dying in the grief of a voice which tells me
I love
your hands.

I will plant my hands in the garden
I will grow I know I know I know
and swallows will lay eggs
in the hollow of my ink-stained hands.

I shall wear
a pair of twin cherries as ear-rings
and I shall put dahlia petals on my finger-nails
there is an alley
where the boys who were in live with me
still loiter with the same unkempt hair
thin necks and bony legs
and think of the innocent smiles of a little girl
who was blown away by the wind one night.

There is an alley
which my heart has stolen
from the streets of my childhood.

The journey of a form along the line of time
inseminating the line of time with the form
a form conscious of an image
coming back from a feast in a mirror

And it is in this way
that someone dies
and someone lives on.

No fisherman shall ever find a pearl in a small brook
which empties into a pool.

I know a sad little fairy
who lives in an ocean
and ever so softly
plays her heart into a magic flute
a sad little fairy
who dies with one kiss each night
and is reborn with one kiss each dawn.

Karim Emami

The Wind Will Take Us

In my small night, ah
the wind has a date with the leaves of the trees
in my small night there is agony of destruction
do you hear the darkness blowing?
I look upon this bliss as a stranger
I am addicted to my despair.

listen do you hear the darkness blowing?
something is passing in the night
the moon is restless and red
and over this rooftop
where crumbling is a constant fear
clouds, like a procession of mourners
seem to be waiting for the moment of rain.
a moment
and then nothing
night shudders beyond this window
and the earth winds to a halt
beyond this window
something unknown is watching you and me.

O green from head to foot
place your hands like a burning memory
in my loving hands
give your lips to the caresses
of my loving lips like the warm perception of being 
the wind will take us
the wind will take us.

By: Ahmad Karimi Hakkak

Bahman Ghobadi

my  fav film <3

  • Golbaji (1990)
  • A Glance (1990)
  • Again Rain with Melody(1995)
  • Party (1996)Like Mother (1996)
  • God's Fish (1996)
  • Notebook's Quote (1996)
  • Ding (1996)
  • Life in Fog (1997)
  • The Pigeon of Nader Flew(1997)
  • Telephone Booth (1997
  • A Time for Drunken Horses (2000)
  • Marooned in Iraq (2002)
  • War is Over (2003)
  • Daf (2003)
  • Turtles Can Fly (2004)
  • Half Moon  (2006)
  • No One Knows About Persian Cats (2009)
  • Rhinos Season (2012)

Jafar Panahi

  • The White Balloon (1995)
  • The Mirror (1997)
  • The Circle (2000)
  • Crimson Gold (2000)
  • Offside (2006)

Asghar Farhadi

  • Dancing in the Dust (2003)
  • Beautiful City (2004)
  • Fireworks Wednesday (2006)
  • About Elly (2009)
  • A Separation (2011)

Abbas Kiarostami

Bread and Alley (1970)
In Between Class (1972)
The Experience (1973)
The Traveller (1974)
So Can I (1975)
Two Solutions for One Problem (1975)
Colours (1976)
The Wedding Suit (1976)
The Report (1977)
Tribute to Teachers (1977)
How to Make Use of Our Leisure Time? (1977)
Solution No. 1 (1978)
First Case, Second Case (1979)
Dental Hygiene (1980)
Regularly or Irregularly (1981)
The Chorus (1982)
Fellow Citizen (1983)
Toothache (1983)
The Students (1984)
Where is My Friend's House? (1987)
Homework (1989)
Close-Up (1990)
And Life Goes On... (1991)
Through the Olive Trees (1994)
Repérages (1995)
Lumière and Company (1995)
Taste of Cherry (1997)
The Wind Will Carry Us (1999)
ABC Africa (2001)
Ten (2002)
Five: 5 Long Takes Dedicated to Yasujiro Ozu (2003)
10 on Ten (2004)
Tickets (2005)
Roads of Kiarostami (2006)
Kojast jaye residan (2007)
Where Is My Romeo? (2007)
Shirin (2008)Certified Copy (2010)

Shirin Neshat

Artist Statement:In 1993-97, I produced my first body of work, a series of stark black-and-white photographs entitled Women of Allah, conceptual narratives on the subject of female warriors during the Iranian Islamic Revolution of 1979. On each photograph, I inscribed calligraphic Farsi text on the female body (eyes, face, hands, feet, and chest); the text is poetry by contemporary Iranian women poets who had written on the subject of martyrdom and the role of women in the Revolution. As the artist, I took on the role of performer, posing for the photographs. These photographs became iconic portraits of willfully armed Muslim women. Yet every image, every women’s submissive gaze, suggests a far more complex and paradoxical reality behind the surface.
Shirin Neshat (born 1957, Qazvin), who lives and works in New York City, left Iran in 1974 to study in Los Angeles. She stayed in California, receiving her BFA and MFA at the University of California, Berkeley. She then moved to New York, where she married the Korean art curator Kyong Park; the two jointly ran the New York exhibition and performance space the Storefront for Art and Architecture. Neshat returned to Iran in 1990, eleven years after the Islamic Revolution, and was shocked by what she saw. That trip led to her first body of work, the photographic series Women of Allah, consisting of conceptual narratives on the subject of female warriors during the Revolution. Neshat works in photography, video, film, and performance, often addressing the theme of the alienation of women in repressed Muslim societies.
Neshat’s work is celebrated and shown globally. Since 2000, selected solo exhibitions include Shirin Neshat, Serpentine Gallery, London, 2000;Shirin Neshat: Two Installations, Wexner Center for the Arts, Columbus, 2000; Shirin Neshat, Contemporary Arts Museum, Houston, 2001;Shirin Neshat, Walker Art Center, Minneapolis, 2001; Shirin Neshat, Castello di Rivoli, Turin, 2002; Shirin Neshat, Museo de Arte Moderno, Mexico City, 2003; Shirin Neshat: Earlier and Recent Works, Hamburger Bahnhof, Museum für Gegenwart, Berlin, 2005; The Last Word, Museo de Arte Contemporáneo, León, 2005; Shirin Neshat, Stedelijk Museum CS, Amsterdam, 2006; Shirin Neshat, Galeria Filomena Soares, Lisbon, 2007; Women Without Men, National Museum of Contemporary Art, Athens, and Kulturhuset, Stockholm, 2009; Shirin Neshat, La Fabrica Galería, Madrid and Brussels, 2010; Women Without Men, Palazzo Reale, Milan, 2011. Her work has been included in all the significant international group shows, including the Venice Biennale, 1999; Whitney Biennial, New York, 2000; Documenta XI, Kassel, 2002; and Prospect 1, New Orleans Biennial, 2008.
Neshat has been the recipient of accolades worldwide, among them the First International Award at the Forty-Eighth Venice Biennale, 1999; Grand Prix, Kwangju Biennale, Seoul, 2000; Visual Art Award, Edinburgh International Film Festival, 2000; Infinity Award for Visual Art, International Center for Photography, New York, 2002; Fine Art Prize, Heitland Foundation, Celle, Germany, 2003; honoree at The First Annual Risk Takers in the Arts Celebration, given by the Sundance Institute, New York, 2003; ZeroOne Award, Universität der Künste, Berlin, 2003; Hiroshima Freedom Prize, Hiroshima City Museum of Art, 2005; Lillian Gish Prize, 2006; Creative Excellence Award at the Reykjavik International Film Festival, 2008; Cultural Achievement Award, Asia Society, New York, 2008; Rockefeller Foundation Media Arts Fellowship, New York, 2008. Her first feature-length film, Women Without Men, received the Silver Lion Award, Prix La Navicella; UNICEF Award at the Sixth-Sixth Venice International Film Festival; and the Cinema for Peace Special Award, Hessischer Filmpreis, Germany, all 2009.