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Cannes 2023 :: Killers of the Flower Moon :: Martin Scorsese’s Bitterest Crime Epic Martin Scorsese triumphs yet again. A story about greed, corruption, and the mottled soul of a country that was born from the belief that it belonged to anyone callous enough to take it.. |
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Berlinale 2023 :: Full Winners List This year’s jury, headed by Kristen Stewart, gave
the Golden Bear award to the French documentary “On the Adamant..” The Silver Bear for
Best Lead Performance notably went to child star Sofia Otero for “20,000 Species of Bees.”
Philippe Garrel's “The Plough” was.. |
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BAFTA 2023 :: ‘All Quiet on the Western Front’
Dominates BAFTA Awards With Seven Wins “All Quiet on the Western Front” dominated the BAFTA Awards in London on
Sunday night with a record-breaking seven wins for a film not in the English languag,
including for Best Director.. |
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Berlinale 2023 :: Golshifteh Farahani :: Talks Role Of
Art In Iran “In A Dictatorship Like
Iran, Art Is Essential, It’s Like Oxygen.” Iranian actress Golshifteh Farahani, who is at the
Berlin Film Festival as a member of Kristen Stewart’s jury, has talked passionately about the
importance of art.. |
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SIFF 2023 :: Shirin Ebadi :: Until We Are Free
This is the amazing, at times harrowing,
simply astonishing story of a woman who would never give up, no matter the risks. The first
Muslim woman to receive the Nobel Peace Prize, Shirin Ebadi has inspired millions around
the globe.. |
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IFFR 2023 Awards :: 'Le spectre de Boko Haram' and
'Endless Borders' are the victors Cyrielle Raingou’s documentary took home the Tiger Award, whilst Abbas
Amini’s feature won the VPRO Big Screen Award, as the Dutch gathering celebrated its in-
person comeback.. |
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Winners of the 2022 ‘Sepanta Awards’ :: 15th Annual
Iranian Film Festival This year, the
festival presented 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video.. |
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Opinion :: Will Venice Protests Help or Hurt filmmakers
in Iran? As the Venice Film Festival
celebrates Iranian cinema — with four Iranian films screening at the 79th Biennale — back
home in Tehran, Iranian filmmakers and artists are facing the harshest crackdown in
decades.. |
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Biennale Cinema 2022 :: Awards Ceremony
Official Awards of the 79th Venice Film Festival.
Announced by the five international Juries, chaired by Julianne Moore, during the Awards
Ceremony that was held on Saturday 10th September at 7:00 pm..
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Coming: 15th Annual Iranian Film Festival! : San
Francisco: Sep. 17-18 This year, the
festival presents 50 films from Iran, USA, Italy, France, Luxembourg, Greece, UK, Canada,
Australia, and Denmark…, ranging from fiction, documentary, short, animation…. to the
music video. We are happy and proud to.. |
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GÖTEBORG 2024 Farshad Hashemi • Director of Me, Maryam, the Children and 26 Others
“I can’t predict the future, but I know this is just the beginning”
by Marta Ba³aga, Cineuropa February 14, 2014
The winner of Göteborg’s Ingmar Bergman International Debut Award plays with fact and fiction in his debut film, which sees a woman opening up her home to a film crew
Granted the Ingmar Bergman International Debut Award at the Göteborg Film Festival – which will allow him to stay at the Bergman Estate on Fårö – Farshad Hashemi plays with fact and fiction in his debut film, Me, Maryam, the Children and 26 Others, which sees a woman opening up her home to a film crew. Predictably, things will get broken. But perhaps some will be fixed as well.
Farshad Hashemi • Director of Me, Maryam, the Children and 26 Others
Cineuropa: The film is dedicated to your parents. How personal is this story, exactly?
Farshad Hashemi: I owe this whole journey – the one that I have embarked on in my artistic career so far – to my parents and their support. Pursuing art as a primary profession and insisting on continuing it, especially in a country like Iran, where art is undervalued and lacks its rightful place, is a very challenging endeavour. Dedicating the film to them was the least I could do. What you see in the film happened to me in real life, when I was involved in making a short in Mahboubeh’s house [Mahboubeh Gholami, who acts in Me, Maryam, the Children and 26 Others]. Now, she is our protagonist, and the house this film crew rents out is still her actual house.
Family is one of the most important themes here, but so is loneliness. Why did you want to talk about someone who just keeps on experiencing loss?
Human relationships and their complexities, as well as loneliness, as you said, are what many people are always grappling with. The world experienced a new form of loneliness during the pandemic, but I have been concerned about it as well. If there is one thing, one word that really inspired me to make this film, it’s “change”. Because a change occurs to our main character in the midst of these human relationships.
Why was it so interesting for you to show the whole backstage of the filmmaking process? At one point, it’s difficult to say what is real and what’s not.
There are many paradoxes in the film. We mention birth and death, happiness and sorrow, love and separation, disorder and order, loneliness and togetherness. This confrontation between reality and falsehood is another one of them.
We tried to address concepts of reality and falsehood in many different ways, also thinking about censorship – the kind of censorship we have been facing in Iranian cinema for years now. Choosing the structure of “a film within a film” allowed us to show how different it is to make a film with censorship and without it. We focused our efforts on making sure everything seemed real, on trying to paint a true picture of life. Interestingly, sometimes our real behind-the-scenes blended in with the behind-the-scenes events we see in the film – they became indistinguishable for us, too. On the third day of shooting, our main camera stopped working, and we just added it to our script. There were more examples like this.
In the past, you have worked with Ali Abbasi on Holy Spider – was that important to you, especially as it was so controversial at home? Also, what does it mean to win an award named after Bergman himself?
It’s actually the first one, and I am so glad it’s adorned with his name. It’s a great honour and something that’s very valuable to me. Now, when I continue on this journey, I will also take it as a big responsibility on my shoulders.
Every experience I have had so far, both in cinema and in theatre, I have tried to treat as my university and a chance for learning. Collaborating with Ali and the whole Holy Spider team is certainly among them. He is a very intelligent, talented director. I don’t know what kind of cinema I would like to make next, and this film happened at a time when I never expected to be able to make a feature at all. I can’t predict the future, and I am aware I will still have to experience a lot, but I know this is just the beginning.
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