The broken mirrors of a country/ a reflection on the different tones of Iranian cinematographers on world platforms

Over the decades, Iranian cinema has always been our cultural identity card and direct window to the world. When an Iranian artist steps on the red carpet of the most prestigious international festivals - from Busan in the Far East to Venice, Cannes and Berlin in the heart of Europe - he inevitably assumes the role of the spokesperson of the collective conscience of his country.

The plurality of tones never means opposition to the principle of the system or hostility to the homeland

Rereading the recent positions and speeches of the well-known figures of our cinema in these tribunes, tells a clear truth: all these figures, in the depths of their souls, are compassionate and attached to this land and water; But each of them narrates the sufferings and ideals of Iran through the lens of their worldview and intellectual origin.

On the one hand, a figure like Majid Majidi, by attending the Busan festival, connects his voice with border guarding and mourning for the oppressed victims of recent events and defends the ideas of the defenders of the Islamic Revolution, as his dedication to the "courageous people of Iran and the innocent children of Minab" reflects his deep emotional commitment to the masses affected by war and aggression. For Majidi, national honor and defense of the integrity and independence of the country is a moral and identity-giving red line that should not be distorted under any circumstances.

On the other hand, there is Asghar Farhadi, an Iranian cinematographer; An artist who believes that "the motherland is a sick mother who cannot be let go, but must be held by the hand", speaks from the point of view of petition and root denial of violence. Farhadi considers the world forum as a place to remember this irreconcilable attachment and to warn about the sufferings of the people, but not as much as Majidi, as was the case in the years of the late Kiarostami.

The same heartbeat for the future can be seen in the voices of the new generation and young actors such as Laleh Marzban; where he reflects the demands and grievances of the young generation and women of the country with tearful eyes. This new music, along with the voices of the artists present at the Berlin festival - from Lili Farhadpour and Ismail Mehrabi to Niki Karimi and Golshifteh Farahani - indicates concrete demands to achieve a normal life, reduce bottlenecks and remove structural obstacles.

Iran is a tapestry of thousands of roles, which to preserve its dignity and to elevate it, simultaneously requires the epic stand of the likes of Majidi, the civil concerns of Farhadi, the demands of the new generation of Marzbans, and even the official opposition like Panahi. The art of wise management is to listen to all these voices with your heart instead of rejecting, shrinking and labeling them.

The key and strategic point is that the plurality of tones never means opposition to the principle of the system or hostility to the homeland. An artist should not be kicked out of the circle of insiders and alienated in the position of "another" just for the crime of having a different tone from Majid Majidi. All these narratives make sense under a big and original umbrella called "national unity". Of course, there are some, like Panahi, who officially have an angle with the functioning of the Islamic Republic of Iran and declare it publicly, but one must be loud and listen to criticism, complaints, objections, and opposition. Because a person who is indifferent and disappointed with his homeland does not open his tongue to glory. The artist's protest is a sign of his life, concern and belonging to his home. Naturally, if he commits a legal crime, the law will deal with him, but not a senseless law that brings regret, like the legal punishment of banning filmmaking for the rest of his life!

On the other hand, one fundamental truth should not be ignored: you cannot go to the judge unilaterally and put the burden of all the gaps on this and that. Trustees of governance must have the courage to look in the mirror. Accept their share of mistakes, taste audits and past mistakes. Restoring public trust is not possible except by accepting mutual responsibility, correcting wrong processes and respecting the diversity of voices. Iran is a tapestry of thousands of roles, which to preserve its dignity and to elevate it, simultaneously requires the epic stand of the likes of Majidi, the civil concerns of Farhadi, the demands of the new generation of Marzbans, and even the official opposition like Panahi. The art of wise management is to listen to all these voices with heart and soul instead of rejecting, shrinking and labeling them and knowing that the root of all these multiple narratives is sincere love for Iran and its patient, authentic and worthy people.

Dialogue, understanding and persuasion is the most stable and wisest method for the long-term administration of the country; Not resorting to harsh literature, labeling, fruitless quarrels and coercive methods. Restoring public trust is not possible except by accepting mutual responsibility, correcting wrong processes and respecting the diversity of voices.

Two more congratulatory messages to Majid Majidi

Majid Majidi's speech after winning the best film award in Busan + Film

Congratulatory message of Hamed Jafari, CEO of Farabi Cinema Foundation to Majid Majidi

Majid Majidi's "Nimroz Food" won the Grand Prize of the Busan Festival / Iranian people 48 years of pressure...