Iran: A Cinematographic Revolution (2007)

Iran: A Cinematographic Revolution

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Movie Info

Documentarian Nader Takmil Homayoun delivers a plenary eulogy to Persian cinema - its fullest to date - with Iran: Une Révolution cinématographique. Over the course of 98 minutes, Homayoun follows the evolution and shifting stylistic currents of Iranian film over the course of 70+ years, as those changes parallel the country's mercurial political history. The picture thus features a dazzling array of clips from Iranian documentaries and feature films, intercut with interview footage that offers … More

Rating: Unrated
Genre: Documentary, Television, Art House & International, Special Interest
Directed By:
Written By: Nader T. Homayoun, Nicolas Bertrand
On DVD: Sep 18, 2007
Runtime:

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Critic Reviews for Iran: A Cinematographic Revolution

All Critics (5) | Top Critics (1)

September 23, 2006
Globe and Mail
Top Critic

Using a range of sources, Homayoun provides convincing evidence that Iran's success at international film festivals has been no accident

Full Review… | September 19, 2008
Playback:stl

It's amazing that Iranian film exists at all. But the country's film artists have not only endured, they have, over time, created a world-class cinema whose sensitive and often progressive aesthetic has been produced under duress.

Full Review… | May 23, 2008
Milwaukee Journal Sentinel

A rounded and robust overview of Iranian cinema and its shifting relationship to the political and religious tides in that country's history and culture.

Full Review… | June 27, 2007
Spirituality and Practice

Valuable for those who want to learn more about this unique corner of global cinema.

Full Review… | May 22, 2007
Film Threat

Audience Reviews for Iran: A Cinematographic Revolution

[font=Century Gothic]"Iran: A Cinematographic Revolution" is a fascinating documentary about the history of Iranian filmmaking, starting with "The Cinema Actor" in 1933. Of special interest are the movies made during the reign of the Shah and the current Islamic Republic and how the directors have dealt with censorship under the two regimes. Strangely enough, the movie treats the current repression kinder(which is ironic considering movie houses were burned when they first came to power), as former government ministers are interviewed along with directors whose films are discussed and clips are shown from. There is also archival footage of the times and momentous events which acts as a background to the main narrative. The Shah wanted an image of Iran as prosperous whereas the Islamic Republic is much more interested in a religious view and especially wants children, nature, Persian poetry and traditional values on display which certainly explains "The Willow Tree." But women need not apply. At the same time, directors possibly influenced by neo-realist films have been interested in showing the Iran they know, especially Bahman Ghobadi who has taken a special interest in Kurdistan.[/font]

Harlequin68
Walter M.

Super Reviewer

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