Ahmad reza darvish biography of william
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Kiarostami & Deleuze: The Path, a Metaphor of a Philosophical Journey
Abbas Kiarostami's modern films feature a movement-image of the path as a narrative and stylistic motif. This article is concerned with a philosophical aspect of Kiarostami's modern cinema by examining what the movement-image of the path is in accordance with Gilles Deleuze's cinematic-philosophical theory. This includes a new interpretation of concepts such as movement, time, and space.
Hamed Soleimanzadeh, Jury Member of the 39th Warsaw International Film Festival
Soleimanzadeh's colleagues on the FIPRESCI jury include MIKE NAAFS (a Dutch critic) and DINU-IOAN NICULA (a Romanian critic). It is worth noting that Hamed Soleimanzadeh is the sole Iranian filmcritic on the international stage who has served as a jury member in more than twenty renowned global film festivals, including Cannes, Berlinale, Karlovy Vary, and the Golden Globe Awards, among others, making him a record holder in this regard.FIPRESCI Critsics' Perspective on Iranian Independent Cinema (Part- Twelve)
Valerie Ganne
Journalist and Film Critic/France
How did you become acquainted with Iranian Cinema? And when was the first time you watched an Iranian film? I discovered Iranian cinema when I was 25 and with Abba
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Atom Egoyan occupies a distinct position within Canadian filmmaking - that of auteur. His unequivocal authorial vision and inimitable style are sustained throughout a body of work that includes 10 feature films. Raised in Victoria, B.C., Egoyan moved to Toronto at 18 to study international relations at the University of Toronto. While studying, two formative encounters fused to inform his life work - fluency with his ethnic heritage and the cinema. Egoyan produced several short films at the Hart House Film Board while furthering his knowledge of Armenian history and politics. His films relentlessly highlight the act of looking from both structural and thematic perspectives, fully exploiting possible implications from knowledge to voyeurism, to comprehension and insight. At the same time, the oft-used Canadian filmic tropes of identity and its uncertainty, image and technology, and communication or the lack thereof compete for equal thematic screen time. Key Egoyan sensibilities emerge in Next of Kin and continue throughout Family Viewing, Speaking Parts and The Adjuster. The films of the mid-1990s offer a more profound exploration of contemporary anxieties. Calendar wrestles with belonging and identity from here to Armenia and back again. With Exotica, perhaps an apt title for
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Crystal Simorgh tutor Best Screenplay
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