Tehran – On September 12th, Iran celebrates National Cinema Day. Since the Islamic Revolution in 1979, Iranian cinemas have evolved from domestic cultural phenomena to one of the most respected and awarded national films in the world.
Iranian cinemas have not only won top awards in Cannes, Berlin, Venice and Locarno for the past 47 years, but have also penetrated the international market through the Academy Awards.
After the Islamic Revolution, Iranian cinemas had periods of heated ideological and institutional remodeling, with a new cinematic language that prioritized simplicity, all-talk, and rich human stories.
An international breakthrough was Amir Nadeli’s “The Runner” (1984). Premiered at the Nantes Festival on three continents in France, the film surprised audiences with its remarkable realism and parenting story. Soon it traveled to London, Sydney and then later, establishing Iran as the rising power of world cinema.
At about the same time, Masudjafarijozani’s “Cold Road” attracted attention at the Berlin International Film Festival, further proving that Iranian filmmakers can resonate with the international juju and audience.
The late 1980s and 1990s marked the golden age of Iranian cinema, with Abbasquiarostami on the forefront. In 1989, he was awarded a bronze leopard at the Locarno Film Festival, “Where is your friend’s house?” The modest story of a boy seeking a home for a classmate has become an icon of Iran’s new film identity.
Kiarostami went on to what he left off with “Thru the Olive Tree” (1994). Three years later, he improved it: “Taste of Cherry” (1997) won the Palme D’Or, the highest award at Cannes. France later awarded him a legion of honor, and placed him among the great auers of the world.
Kiarostami’s success was not an isolated case. Other Iranian filmmakers flourished in the 1990s. Tahmineh Milani’s “The Legend of the Sigh” (1991), Ebrahim Forouzesh’s “The Jar” (1992), and Jafar Panahi’s “The White Balloon” (1995) all won awards at Locarno, Cannes and other famous festivals. Panahi’s “Mirror” won the Golden Leopard at Locarno, while Abolfazarjaliri’s “Dance of Dust” claimed the Silver Leopard. These victories established Iranian cinemas as equipment for major festivals.
Kiarostami has caught the Iranian film in the attention of film lovers, but Majid Majidi has caught the attention of film viewers around the world.
His film Children of Heaven (1997) was the story of two children who share a set of shoes and was the first Iranian film to be nominated for an Academy Award for Best Foreign Language Film Category. Iranian cinemas became famous in Hollywood after their nomination, showing their ability to touch universal viewers with stories of poverty, dignity and love.
Majidi continued to direct films such as The Color of Paradise (1999) and Baran (2001), which won awards at the film festival circuit from Montreal to Moscow. Iranian films were no longer a surprise on the Global Festival Circuit by the early 2000s.
In the late 2000s and early 2010s, Asghar Farhadi witnessed a new peak with the rise. His “About Elly” (2009) has won the best director Silver Bear at the Berlin International Film Festival, marking the arrival of a new voice. Two years later, “A Separation” (2011) reached a fork. The film won the Golden Bear in Berlin, dominated the festival circuit, and ultimately won the Academy Award for Best Foreign Language Film, the first Oscar in Iranian history.
“The Salesman” (2016) repeated feats, giving Farhadi his second Oscar. Along the way, the film also won the best script and Best Actor award at Cannes. Farhady’s double victory placed him in a rare company of filmmakers such as Ingmer Bergman and Federico Fellini.
The influence of Iranian cinemas far surpasses Cannes and the Academy. At the Busan International Film Festival in Korea, Iranian films such as Parvis Shabazi’s “Deep Breathing,” Morteza Farshbah’s “Mortem,” and Mohammad Ahmadi’s “The Poet of Waste,” won the fipresci award. These victories highlight the diversity of Iran’s voice and their appeal across Asia.
The Iranian director has also won a victory in Venice, with Shalam Mokli’s “Fish and Cat” (2013) receiving a special award for innovative content. Young filmmakers like Saeed Roustayi (“Sust 6.5”) and Houman Seyedi (“World War III”) continue to attract global attention, ensuring that Iranian cinemas remain vibrant and positive.
Global critics habitually point out the factors that distinguish Iranian cinemas as their use of all stories, their focus on children as heroes, and their ability to tell universal human stories.
Roger Ebert once described the Kiarostami film as a film that “helps us to better understand the world we live in.” Iranian films are, in fact, kind of cultural ambassadors, offering educated images of Iranian life to counter the stereotypes of international media.
What’s more, the scope is a heart-warming experience. All major film festivals around the world have celebrated Iranian films at least once since the 1980s. Only national films from Europe and North America coincide with this record of consistency.
As Iran celebrates National Cinema Day, film practitioners continue to push them up to new styles and forms. Reza Dormishian and Vahid Jalilvand are some of the directors who are trying to rupture the status quo with socially relevant features.
Award tally – Parmedollar, Golden Bear, Silver Lion, Golden Leopard, Academy Awards – is more than just a list of statues. It is a testament to the universal appeal of Iranian stories. And as a new generation of filmmakers are on board, the world awaits the next chapter in this incredible story.
SS/