Iranian Cinema in the Past Year: Low-Quality Films and Empty Theaters

The low quality of cinematic films, empty theaters, and lack of audience reception have created a concerning situation for Iranian cinema in the year 1402. As censorship, repression, and other restrictions continue to reduce the number of independent filmmakers active in Iran each year, the number of films produced with the budgets of government institutions and organizations is increasing. The 'Owj' Cinema Organization, 'Farabi' Foundation, the Art Bureau, Tehran Municipality, and 'Narration of Fate' Foundation are among the governmental bodies that participated in the investment of many films produced in 1402, either fully or jointly. Most of these cinematic works are created by so-called 'insider' filmmakers and focus on topics related to the 1979 revolution, the eight-year Iran-Iraq war, and the commanders of the Islamic Revolutionary Guard Corps, or reflect the policies and values of the Islamic Republic in some way. Experts believe that Iranian cinema continues to operate only through the injection of funds from these institutions and organizations and is considered a bankrupt industry; a fact that even officials acknowledge. The 'Khabar Online' website held a roundtable with several industry professionals to assess Iranian cinema in the past year. Parisa Sasani, a presenter and journalist, states that making films in the current era of Iranian cinema is akin to walking on the edge of a blade, where investors, including directors, screenwriters, actors, and audiences, get hurt regardless. She adds that the lack of clear strategic policies regarding production and how to present works to the audience, the lack of assessment of supply and demand for cinematic productions, the existence of double standards in dealing with cinematic works, the transformation of international cinema into regional cinema, the absence of skilled investors, the lack of independent cinematic productions due to currency fluctuations, and the ultimate destruction of the achievements of past governments in various fields, including culture and cinema, are among the reasons for the instability and disarray of Iranian cinema in 1402. Mohammad Afrideh, a film producer who has preferred to distance himself from cinema due to current conditions, evaluates the current state of Iranian cinema by saying: 'For a long time, we have only been content with getting through today, and this daily routine means the current situation, a situation where nothing is in its place, and unfortunately, there is no listening ear.' He adds: 'While we were supposed to all be together and build together, when we are not all present, we become what we are; therefore, in my opinion, the way out of this critical situation is the presence of diverse tastes and perspectives without bias in all areas and activities.' Jalil Akbari-Sahhat, a critic, producer, and director, describes the issue of Iranian cinema's presence in international forums as a combination of film presentation and social and cultural behaviors and states: 'I think the current issue for the managers of the Cinema Organization and, in a broader perspective, the Ministry of Culture and Islamic Guidance, is not the presence of Iranian cinema abroad through participation in prestigious festivals or attracting external audiences.' He adds: 'At one time, this was considered an important goal for cinema managers, and efforts were made to plan towards achieving this goal; and history shows they reached it.' Mr. Akbari-Sahhat further states: 'Currently, such a goal is not envisioned for cinema managers. A film festival is a combination of film presentation and social and cultural behavior, which, naturally, with the excessive conservatism in the cultural field, is not acceptable to cinema managers at all.' Ali Malaghli-Pour, a film director, considers the presence of diverse films in public screenings and international arenas as a legitimate right of the Iranian people and believes this can only be achieved through dialogue and trust in artists. He states: 'Officials in the Ministry of Culture and Islamic Guidance must understand that this ministry is a place and home for cultural figures and artists. Therefore, there is no way but to engage in dialogue and trust artists. On the other hand, cinema officials must set aside the ruler between insiders and outsiders and instead of worrying about presenting work reports to higher authorities, they should be concerned about the spirit of society.' This film director adds: 'With this trend of government filmmaking minus the people, and the construction of strategic cinema, no achievements have been made and will not be made. Given the dissatisfaction of the people and the lack of participation in national and decisive assemblies, the mass production of ideologically themed works that do not even have political impact is one of the major mistakes of the past two decades.' In his opinion, 'As a result, we are witnessing a systematic replacement of unprecedented artists committed to the system instead of specialized and concerned artists.' Keyvan Katirian, a film critic and manager of the 'Cinema Cinema' website, believes that 'Iranian cinema managers are trying to create a resume through statistical manipulation and hide behind high sales figures to justify the success of implementing their defined organizational goals with these statistics. Therefore, screening films other than entertaining and non-comedic is practically impossible.' He states: 'As a result, social and non-comedic films are not well screened or face difficulties and struggles in irregular and inappropriate screenings, which often have low sales and no return on investment. Therefore, investors become discouraged; because investing in social films, critical films, and independent films or non-comedic dramas is practically not profitable in Iranian cinema.' Mr. Katirian points out: 'This is while Iranian cinema is recognized and appreciated globally with social films that have more thought-provoking themes.' This film critic discusses Iranian independent cinema, stating that 'since Shahrivar 1401, obtaining permits and submitting to censorship has lost its significance,' and says: 'In the heart of Iranian society, events have occurred, and the Iranian nation has decided to be themselves and not submit to many things, and Iranian independent cinema has also preferred to experience new paths. Just like the film 'My Favorite Cake,' or the films of Oktay Barahmani and others that have achieved successes in the international arena in the past year.'