Why Iranian Cinema Touches the Soul | Kiarostami | Farhadi | Panahi | Majidi
Автор: Cinemosophy
Загружено: 2026-01-14
Просмотров: 226
Описание:
Cinema is not entertainment. It is ideology in motion. It rewires how humans see society, power, faith, gender, class, and resistance. Among all national cinemas, Iranian cinema stands apart—not because it is flashy, but because it is brutally honest.
While global cinema often escapes into spectacle, Iranian films walk straight into the lives of ordinary people. They dissect silence, poverty, repression, morality, childhood, faith, and defiance. Local stories. Universal wounds.
This video traces the history of Iranian cinema—from the arrival of the first camera in 1900 under Muzaffar al-Din Shah of the Qajar Dynasty, to the birth of narrative cinema, to the collapse of creativity under commercial Film Farsi, and finally to the revolutionary rise of the Iranian New Wave.
We explore:
The arrival of cinema in Iran and the earliest documentary experiments
The first Iranian silent film Abi and Rabi by Ovanes Ohanian
Iran’s first sound film Dokhtar-e Lor, directed by Ardeshir Irani
The dominance and cultural damage of Film Farsi
The poetic roots of Iranian art—Nakhali, oral storytelling, and protest poetry
The birth of the Iranian New Wave with The Cow by Dariush Mehrjui, the film that forced the world to take Iranian cinema seriously
Today, Iran is burning. Protest fills the streets. Artists are censored, arrested, silenced. Yet Iranian cinema refuses to die. It survives through metaphor, symbolism, children’s perspectives, rural spaces, and quiet rebellion. These films don’t shout—they endure.
Iranian cinema is proof that art can survive authoritarianism, that storytelling can escape prisons, and that truth finds its way to the world—no matter how tightly it’s locked.
This is not just film history.
This is cinema as resistance.
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