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None of your business | Va kas che (2019)|
Date of birth:
1977, Gachsaran, Shiraz, Iran
Kamran Heidari, Saeideh Keshavarzi
Iran | Dubai | Czechia
None of your business | Va kas che
A documentary film
regarding the life and death of a popular southern Iranian guitar player, singer
“Even though I
passed away, everyone in Bandar Abbas is playing my music. Therefore, I am still
A documentary film regarding the life and
death of Ebrahim Monsefi, mostly
known as Ebram; a popular southern Iranian guitar player,
singer and poet.
He was born 70 years ago in
Bandar-Abbas and passed away 50 years afterwards and had suffered such a sad end
that made it almost impossible for one to tell if he had committed suicide or
died a natural death.
Although he has passed away for almost two
decades now, thoughts and debates are still on about his cause and reason of
spent his whole life composing lyrics and music in solitude and recorded them in
solitude as well, never in a studio.
After he died, his works have been
discovered and published little by little and suddenly everyone referred to his
music and several musicians have covered them so far. Many have become
interested in his life.
An excerpt of Cinema
Without Borders' exclusive interview with Kamran Heidari about his four
films that is screening in New York:
Bijan Tehrani: I think None
of Your Business is a very beautiful film. It takes a lot of
courage to make film about a deceased singer by having his as narrator of his
story. To me, None
of Your Business is a visual poem. How did you choose this
Heidari: I knew this character from 10
years ago and listen to his music. I contacted certain friends of his and asked
about Monsefi’s life stories. There were a lot of stories about his life. I
thought it’s much better to focus on only 2 or 3 events in his life.
Naturally, it’s very hard when your subject has passed away. The only
way was to talk to his friends. Since I love visuals, I didn’t want to spend too
much time on interviews, talking heads telling their memories of Ebrahim Monsefi. I thought what would be left if I
remove all the interviews? It made me think it’s like literature.
wrote the stories of the film based on true events in his life. Then I thought,
how would Ebrahim Monsefi talk about
himself? So, I read his books. He has three books of his
poems and I took notes of the parts that were about his life and wrote stories
based on those poems. Then, it just occurred to me to let him tell his own story
in the film. Magic realism like the ones in the South
America and Gabriel Marquez’s work somehow exist in the Southern Iran,
Ebrahim grew up in a Hindu
temple and believed in reincarnations and he even talked about it in his
poems. I was a little worried if I could develop the story without his friend’s
interviews and archival footage. It was a bit difficult, so I thought he would
say at the beginning: “Even though I passed away, everyone
in Bandar Abbas is playing my music. Therefore, I am still alive.”
I worked each story with a musician who played his music. It made it
easy. It took 2 months to write a narration. Luckily, we have got a lot of good
feedback for the film so far. (Cinema
Another excerpt of an interview
with Kamran Heidari about his latest film None
of Your Business: (rogerebert.com)
of Your Business" departs from "I Am Negahdar Jamali… ,"
"Dingomaro" and "Ali
Aqa" in that it’s about a man who is now dead. It’s much less of a
straightforward documentary than those films are. Were there other reasons why
you thought Ebrahim Monsefi’s story
called for a departure in your style and approach?
Heidari: We were
concerned because my character was always a living character in my earlier
films. I tried to experiment with a new model in filmmaking, although it was
scary and anxiety-provoking. I love the magic realism of Latin America and
especially Gabriel Garcia Marquez: that his stories are both
real and magical at the same time.
I tried to use the same style,
because Monsefi's life is like a story out of magic realism. Here we have true
stories that are told throughout dream and magic by a dead man. In the original
script, the magic realism based on myths of south of Iran were more evident. But
the producer suggested that we do more documentary scenes and stay with the
documentary tone. The part that is related to dreams is very evident in the film
and I am so happy about the style I chose.
Do you see your films fitting into a particular tradition in Iranian
cinema, or being outside it?
Heidari: I make my
films based on my intuitions. My films are very personal, and based on my own
life. More than cinema and any filmmaker, I am influenced by the people living
around me and that dictates the method I pick to make films. I have always tried
not to follow one specific style or confine myself to one specific genre but I
loved the films that are trying to find a new language for the cinema and
experiment more. I have always tried to make films that can make a connection to
all of the world rather than only the people in my own land. (rogerebert.com)
Selected filmography of Kamran Heidari
- None of your business | Va kas che (2019)
- Ali Aqa | Ali Agha (2017)
- My Name Is Negahdar Jamali and I Make Westerns | Man Negahdar Jamali, western misazam (2012)
Julianne Moore leads red carpet protest in Venice for jailed Iranian filmmakers
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