The Latest “Cinema Facing the Future” Seminar:
“Challenges of Iranian Cinema under the New Government”
On Saturday, December 10, the latest session of the “Cinema Facing the Future” series, titled “Challenges of Iranian Cinema under the New Government,” was held at the Shahre Khaterh Hall of the Azadi Cinema Complex. Organized by the Soura Film Organization, the session featured prominent guests, including Masoud Atyabi, Amirreza Mafi, and Ali Molagholipour, with the event hosted by Amir Ghaderi.
Opening Remarks:
Amir Ghaderi welcomed the attendees and provided context for the seminar, stating:
“Last year, we held sessions discussing the cinema of the 1980s and 1990s, featuring filmmakers, administrators, and experts from those decades. This year, we plan to continue these sessions on contemporary cinema topics on the first Saturday of every month. We aim to collaborate with experts in Iranian cinema and provide recommendations to the government. Hopefully, in future sessions, we will have representatives from the government join us. Unfortunately, Mr. Motamen couldn’t attend today’s session due to travel delays.”
Masoud Atyabi’s Perspective on Challenges:
Masoud Atyabi began his remarks by addressing the recurring challenges in Iranian cinema, saying:
“Iranian cinema is always in a state of challenge. A major issue is that the film industry should not define itself in alignment with each government. This dependency reflects a lack of political maturity. Cinema should chart its own course, independent of political changes, and shouldn’t require constant oversight. While the role of governments shouldn’t be entirely eliminated, a balance in management is necessary.”
He highlighted the pressures on the government stemming from media discourse and opinion-driven attacks, stating:
“Governments often succumb to such pressures, influencing their decisions. For instance, although comedy films are successful, criticism from outlets like Javan Newspaper creates significant pushback, impacting production permits. In the last seven months, I have submitted 7 or 8 screenplays, and all were rejected. Cinema must be strengthened across all genres.”
Atyabi concluded by speculating about the future of Iranian cinema:
“I foresee a shift where actor-centric or director-centric cinema will give way to studio-driven productions. Production companies will take center stage.”
This session marks an ongoing effort to address pressing issues in the Iranian film industry while proposing solutions and insights for its development under the new government.
Atyabi: Social Cinema Has Fostered a Sense of Insecurity
During the seminar, Amir Ghaderi noted that even during the classic era of Hollywood, each studio had its distinct ethical identity and produced films that reflected those values. He added,
“I believe institutions like Owj Organization and Soura Film Organization have the potential to transform into film studios.”
Masoud Atyabi emphasized this point, stating:
“These organizations can evolve into trusted production companies, independent of government permits. The more we push the film industry towards competition, the more diverse and high-quality its output will become in the next decade. If the government starts competing with private entities, it will only propel progress. However, in my opinion, social cinema has instilled a sense of insecurity among the public, eroding their trust.”
Molagholipour: The Absence of Social Cinema Reflects a Larger Problem
Ali Molagholipour further expanded on the discussion, saying:
“To transform into studios, each organization must own its own theaters. Why does one film get released in 180 theaters while another only in 80? It’s predetermined which films will perform better. Organizations like Owj and private sectors might be growing, but we need to ask: what is cinema, and what do we expect from it? Cinema, by nature, is an industry, an art, and a medium. Unfortunately, the artistic element has been lost. Modern cinema has drifted away from art.”
He expressed disappointment in current trends:
“Today, I expect cinema to integrate all its components and elevate society, yet our cinema regresses the audience by ten steps. There’s a deliberate effort to marginalize social cinema. Who would invest in a social film today? Social cinema has no patrons, and no one is willing to finance it. Many filmmakers aspire to create social melodramas but face constant barriers because this genre provokes thought and fosters growth.”
Critique of State-Driven Genres
Molagholipour criticized state-endorsed film genres, noting:
“One of our key issues is the dominance of state-sanctioned genres, which often resemble newspaper editorials. Nobody is accountable for the impact of these films. In Hollywood, a masterpiece emerges every five years. Here, we’re expected to see six such films at the Fajr Festival because they serve as metrics for managerial performance.”
He also questioned the persistence of certain figures in the industry:
“Figures like Mr. Il Beigi remain in every administration. Have they changed? What ideas or courage have they shown? Whom have they introduced to the cinema?”
A Reflection on the Past
Molagholipour recounted a memory with his father during the production of the film Majnoon. He shared:
“At a meeting with Mr. Beheshti, my father mentioned that he had several social screenplays that he hadn’t been able to produce. Beheshti said, ‘We’ll give you a loan; go make your film. If it doesn’t sell, we’ll share the loss.’ This kind of support revived social cinema at the time, resulting in the creation of valuable films.”
This discussion underscored the challenges facing Iranian cinema today, from the sidelining of social genres to the monopolization of opportunities and the need for systemic reform.
Molagholipour: “We Don’t Have a War Genre; It’s a Scam”
Ali Molagholipour shared a past conversation with Hossein Tabesh during the Rouhani administration, stating:
“Tabesh told me, ‘We have three female filmmakers working on war films; you should do one too.’ I believe our cinema must relate to society. When Rasul Molagholipour made war films, war was part of our social reality. Those films were, in essence, social films because they addressed our collective concerns. Today, we don’t have a war genre; it’s a scam.”
Acknowledging Recent War Films
Amir Ghaderi, the moderator, intervened to strike a balanced perspective:
“Not all films are bad. Among recent war films, I liked Medi’s Situation, Majnoon, and The Stranger more than others.”
Molagholipour agreed and added:
“Yes, for example, when Hadi Hejazifar makes a film about Martyr Bakeri, his belief system ensures the film’s impact.”
Ghaderi concurred:
“Yes, exceptions must be acknowledged.”
Molagholipour then criticized conservative media for their contradictory stance on war films:
“Our main problem is with the conservative media, which accuse filmmakers of being duplicitous. They create a system that inherently fosters duplicity.”
Awards Bias and the Lack of Thoughtful Cinema
Molagholipour continued his critique, saying:
“Every year at the Fajr Film Festival, a few awards are inevitably given to films featuring guns and warfare. My concern is for a cinema infused with thought and intellectual depth.”
The Future of Cinema and the Role of AI
Amir Reza Mafi offered a broader perspective, discussing the impending transformation of cinema:
“Important and diverse topics have been raised here, each requiring a lengthy discussion. While I intended to discuss future strategies, it seems more urgent to expand on these points. Regarding studios, my understanding is that in the near future, we will bid farewell to cinema as we know it today. Artificial intelligence will transform cinema—this is inevitable. Once AI becomes creative, it will impact all art forms. Every cultural manager must consider both the professional and intrinsic aspects of cinema’s future.”
Mafi noted the global conversation around AI’s impact on the arts and lamented:
“Outside Iran, there are extensive discussions about this transformation, but within Iran, we are still entangled in our usual disputes.”
Mafi: “We Suffer from a Lack of Rationality in Iranian Cinema”
Amir Reza Mafi reflected on his years of management within cultural organizations, stating:
“For years, I’ve worked in positions tied to institutions like Hozeh Honari. I can testify that during all these years, no foreign entity ever contacted me to suggest making a film on a particular topic. However, within the realm of criticism, I have received numerous calls dictating what I should or shouldn’t say. I’ve also faced subjective judgments about creative works. For example, in the case of the animation The Traveler from Ganura, I was criticized and labeled anti-revolutionary.”
Transparency and Rationality in the Industry
Amir Ghaderi acknowledged the ongoing efforts of institutions like Hozeh Honari and Owj to improve accountability and embrace studio-based operations. However, Mafi emphasized the need for deeper transparency:
“Without a doubt, achieving this requires us to be more transparent. With everyone I’ve worked with, I’ve shared the details of their contracts. What harms us most is keeping all our work shrouded in ambiguity. Even the appointment of the head of the Cinema Organization wasn’t announced transparently. Why did Mr. Zainolabedin leave Farabi, and why was an interim director chosen instead?
When we avoid clear communication, we fall into a paranoia where we suspect external forces are influencing everything. This lack of transparency feeds a conspiracy mentality.”
Cultural Challenges and Artistic Rationality
Mafi elaborated on the challenges of navigating cultural sensitivities, particularly regarding depictions of Islamic values in creative works:
“Regarding hijab in cinema, I’ve repeatedly asked: Should we adhere to full Islamic hijab, or are we considering what is culturally accepted? In The Traveler from Ganura, I faced bizarre challenges concerning the depiction of a female doctor’s hijab. Associating broader societal issues with a single fictional character is simply misguided.”
He criticized a broader cultural failure to engage in thoughtful reflection:
“Our approach has been to avoid thinking altogether. Anyone who thinks critically becomes a problem to manage. Many of today’s challenges stem from a refusal to think. In the realm of culture and art, we deny basic realities and suffer from a lack of rationality.”
Mafi continued, stressing the consequences of this rational void in Iranian cinema:
“We lack a clear vision and strategic framework. The term ‘strategy’ has been so overused and misapplied that it’s lost its meaning. Economically, we have no transparency in the film industry. As a governing institution, we have no right to compete with the private sector. If I fail to produce films that benefit society and resonate with families, I must be held accountable.”
Ghaderi’s Question: What Defines a Beneficial Film?
Ghaderi, the moderator, posed an important question:
“What do you mean by a ‘beneficial film’?”
Cinema Facing the Future: Insights from Iranian Filmmakers
Amir Reza Mafi explained his view on what defines a “beneficial film”:
“A beneficial film is one that the audience watches, connects with, and gains something from.”
The Shift Toward Corporations in Cinema
In the continuation of the discussion, Masoud Atayebi stated:
“We are inevitably headed toward making cinema more corporate because, in the future, the public’s authority in choosing what to watch will change. The future of cinema is tied to its economy. The value-added tax from my cinema is equal to the entire budget of cinema. In the next 10 years, we will have to make our cinema in such a way that forces others to follow our path. My existence also benefits the government because if four blockbuster films are not released, the Cinema Organization will collapse.”
Atayebi emphasized the shift happening in cinema:
“Social cinema has excluded itself from competition. Films that fail to attract an audience will fade away.”
The Challenges of Social Cinema and “Box Office” Films
Ali Molagali-Pour shared his frustrations with the current system, mentioning how films and filmmakers are often “sacrificed” by institutions:
“In management circles, they say that certain people and their films must burn. For example, Mr. Mohammad Hamzaei made Captain with support from Farabi. Farabi ordered the film to be burned, and essentially, the film’s producers themselves caused its failure. Qandon Jahiizieh was a commercial success, and I’ve written its sequel, but they won’t let me make it. Ehsan Biglari made My Brother Khosrow, a successful film, but they no longer let him make films.”
Molagali-Pour clarified that creating thought-provoking cinema doesn’t mean ignoring commercial success:
“Intellectual cinema doesn’t mean it can’t have box office appeal.”
The Role of Companions and Corporations in Cinema
Atayebi reiterated that institutions like Farabi are supportive entities, not corporations:
“Farabi is a supportive institution, not a corporation. I fought for every single screening of my film.”
Molagali-Pour responded:
“A corporation isn’t interested in socially-conscious cinema. A film like Ajareh Nashin-ha won’t come from a corporation.”
The Changing Landscape of Cinema: Artificial Intelligence and Future Predictions
Mafi raised an important point regarding the impact of artificial intelligence (AI) on cinema:
“After the outbreak of COVID, we saw a rise in comedy and children’s films. A film that is worth watching on the cinema screen can be categorized as a third type. The films that stay in cinemas are the ones worth seeing.”
He continued, discussing AI’s influence:
“We have an optimistic view of AI. For instance, after the development of social networks, human agency was diminished. In the age of AI, we essentially train an endless machine. One day, you might wake up and ask AI for everything you need. Two things that must develop in humans are intuition and imagination. Once AI is fully realized, it won’t be making films for the intellectual class.”
Molagali-Pour commented on the lack of serious thought within the Iranian cinema industry, particularly in how it addresses societal challenges:
“Our managers shouldn’t be focused on just the output. During the era of Seyfollah Dad, we considered it a successful period because he was part of cinema. I’ve spoken to Mr. Khazaei about the problems after 2021. The only way to bring the industry together is through social melodrama, but they said no one wants that anymore. I also believe the future of our actors shouldn’t be about being banned from working. Without intellectualism, we won’t have cinema. Cinema must progress with thought. We haven’t solved our issues; we’ve been running away from them.”
Atayebi responded:
“The way forward for cinema is resistance, and I personally will push until our ideas are accepted. We shouldn’t rely on the government.”
Mafi on Cinema’s Intellectual Void
Mafi concluded the discussion by stressing that Iran’s cinema lacks intellectual depth:
“In my opinion, Radeh Fereidazadeh needs to wake up. We are in a complex situation. We don’t have intellectual cinema. Our cinema doesn’t know what it wants to do. We still can’t define beauty and pleasure. Right now, we need a philosophical approach to the future of cinema and its economy.”
Cinema Facing the Future: Monthly Discussions on Iranian Cinema
The series of “Cinema Facing the Future” discussions, aimed at exploring solutions and challenges facing Iranian cinema, is held monthly at the Freedom Cinematic Complex by the Soura Cinematic Organization. Hosted by Amir Ghaderi, the series features discussions with film experts and directors from various backgrounds.
