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Iranian films marking its int'l milestone
Hollywood rules the world's film industry, while Bollywood has its loyal international audience
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ollywood rules the world's film industry, while Bollywood has its loyal international audience. In the case of Iran, it has stolen the hearts of many with its soul-catching movies.
If you still remember the famous Children of Heaven, then you know it only took a pair of shoes to make the audience understand what poverty and family relationship are all about. A simple, yet meaningful story that gives us more than just a drama.
"The stories depicted in Iranian movies are far from most Western movies that mainly highlight violence and sensuality," said senior actress Jenny Rachman, president of the Indonesian Film Artist Association (Parfi). "They're high quality movies dealing with issues of religion, humanity, morality and patriotism," she added.
Working with the Embassy of the Islamic Republic of Iran in Indonesia, Jenny and her Parfi fellow brought the richness of Iranian movies to Indonesia. Under the three-day Iranian Film Festival that kicked off on Nov. 16, five international award-winning movies Hayat (Life), Ghoflsaz (Key Maker), Charkh (Wheel), Kheili Dur Kheili Nazdik (So Close yet So Far) and Har Shab Tanhaye (Alone Every Night) were screened at the Haji Usmar Ismail Film Center in Jakarta.
"After I watched Hayat yesterday, I was really tired," actress Ayu Azhari laughed, but quickly added, "I mean, I was emotionally exhausted."
"It felt like I forgot about everything else."
In the eyes of Ayu, who has watched many Iranian movies, Iranian filmmakers always tackle simple issues with a different perspective.
"Perhaps I can say they always pick marginal issues, yet those issues are very interesting as they're very different from the ones most Hollywood and Bollywood movies revolve around," she said. "Iranian movies are a touch melodramatic, without overkill. They're very natural."
Many viewers echoed Ayu's praises, said movie director Gholamreza Ramezani, who directed Hayat, Ghoflsaz and Charkh.
"Stirring audience's emotions, but in a natural way, is one of the characteristics of Iranian movies," said Ramezani in the middle of his movie preview. "When I had screened Hayat in theatres in Iran, I saw many crying faces after watching the movie," he added.
Iranian movies, Ramezani went on, are always firmly based in reality.
"We want the audience to feel like they are witnessing *life', instead of just watching a movie," he said.
Of course, when it comes to real life, there are many issues worth the spotlight. So, how do Iranian directors make up their mind?
"Sure, there are many problems in society," said Ramezani. "But the problems we pick are either the ones we want to get rid off or those that need special attention," he added.
Although Iranian movies tend to focus on local issues, Ramezani said, international audiences are still receptive to them.
"Logically, people would pay special attention to something different and unusual," he said. "So, problems in Iran might turn out interesting to audiences in other countries."
Ramezani's claims proved right with many Iranian movies gaining recognition in international film festivals in Berlin, Venice, Cannes and London, as well as in prestigious events such as the Academy Awards.
"The movie industry in Iran has made significant progress in the past few years, in terms of content and technology," Ramezan explained. "We produce at least 80 movies every year."
Thirty years after the Islamic Revolution in Iran, he went on, filmmakers do not really feel restricted by the government. The government's policy, which requires that 85 percent of all movies screened be local, is indeed very encouraging for Iranian filmmakers.
"The fact that foreign movies with anti-Islamic values cannot be screened in Iran is actually something normal," he said. "I believe that each country has its own policies, and after all, restrictions aren't always for the worse," he added.
Ramezani dismissed reports that the Iranian government does not allow its filmmakers to cooperate with their American counterparts.
"It's never prohibited," he underlined. "The thing is, we, Iranian filmmakers, don't feel we need to work with them in our productions, or use their technology.
"But of course, we do exchange ideas with many of them. Recently, we invited some Oscar-winning teams *from the USA* for a workshop," he added.
Iran however openheartedly welcomes cooperation with Indonesian filmmakers. The same thing goes for Indonesia, as expressed by Culture and Tourism Minister Jero Wacik.
"It's through movies that Iran and Indonesia can cooperate and understand each other's culture," he said when opening the festival.
Movies, he said, can help bind both countries, and later encourage more cooperation in the future. The film festival is just the medium for such cooperation.
Indonesian movie director Aditya Gumay added that future cooperation would include movie exchanges between the two countries.
"We're planning to hold a film festival like this in Iran," Aditya said. "After all, many Indonesian films share similar religious and moral values with Iranian movies," he added.
Jenny Rachman added that Parfi was planning to establish an Indonesian-Iranian film organization. Both Jenny and Aditya said they were confident such cooperation would be meaningful for Indonesia.
"From Iran, we can learn how to highlight simple, smaller-scale issues and transform them into something important and meaningful," Aditya said. "As we know, most Indonesian filmmakers always prefer to tackle big issues and think small problems are not worth their time," he added.
