Niloufar Beizaei: The Cinema of the Iranian Government Takes Inspiration from Nazi Germany

As repression, censorship, and other governmental restrictions in Iran have led to a decline in the quality of cinematic works and a significant drop in audience numbers, the market for screening comedic films with trivial and superficial subjects is booming. These comedic works, usually produced with the funding of governmental institutions or producers close to the regime, aim to attract audiences and sell at the box office by utilizing famous actors, cultural and ethnic stereotypes, music and dance, sexual jokes, and exploiting pre-revolutionary nostalgia. Unlike serious and social works, these films face less scrutiny from these institutions and organizations, and officials of the Islamic Republic of Iran speak of improvements in the quantitative and qualitative conditions of Iranian cinema based on their box office sales; a claim that artistic critics disagree with, describing these comedies as 'market-driven' and 'low-quality' products. Niloufar Beizaei, a writer, director, and member of the Iranian Artists' Association of Film and Theater Abroad, residing in Germany, is one of the figures who, while criticizing the current trend of Iranian cinema, likens it to the cinema of Nazi Germany, believing it draws inspiration from it. Ms. Beizaei tells Voice of America that during the Nazi regime in Germany, 47% of the films produced in the country were comedies, and 42% were films with family and romantic themes or, as she puts it, 'entertaining.' She adds that other produced films were government propaganda and contained 'fascist' and 'patriotic' content. According to Niloufar Beizaei, in some of these comedic, family, or romantic works, which constituted the majority of films produced during the Nazis, government ideological propaganda was subtly embedded in the underlying layers of these works. She adds that the Nazis also vigorously pursued the development of a star-making system in their cinematic policies. Ms. Beizaei states: 'In fact, stars were created from among aspiring artists who intervened less in political affairs and whose work showcased glory, beauty, luxurious living, or carefree lifestyles, to replace previous stars who refused to collaborate with the regime and rejected substantial financial offers.' According to this writer and director, the structure of the Islamic Republic's cinema is similar to many aspects of the Nazi cinematic policies in Germany. She adds that on one hand, the economy of cinema is in the hands of governmental organizations or entities and individuals affiliated with the regime, and censorship and control are exercised over all its components by the government. According to Ms. Beizaei, on the other hand, investment in comedic films that appear to be unrelated to the government, but in reality, divert the audience's attention from the regime's crimes and the true state of life by portraying situations that are incongruent with real life or harmless critical content, is taking place. She adds that producing content such as the unsuccessful outcomes of those who emigrate from Iran, and strong women with modern appearances who are often negative characters in films, such as ambitious, murderous, etc., and women conforming to the regime's image who are positive characters in films, are other examples of the hidden propaganda dominating this cinema. Niloufar Beizaei also criticizes individuals who watch these films inside and outside Iran and applaud their creators without paying attention to the hidden propaganda system and the enormous expenses that the Islamic Republic incurs to produce these works. According to her, behind the systematic repression of protest art, this government seeks to portray the situation as 'normal' and create a wave of indifference in society, and although it is 'successful' in this, it must be countered while enlightening the public. In recent years, especially after the 'Women, Life, Freedom' movement, the Islamic Republic has paid special attention to producing comedic, superficial, and entertaining works, while independent cinema and the works of non-governmental artists have received a warm welcome from audiences and art critics at global festivals. The film 'The Fig Tree of Temples,' made by Mohammad Rasoulof, an Iranian filmmaker who has been forced to leave Iran, is nominated for the Oscar in the International Feature Film category as a representative of German cinema. Hundreds of well-known filmmakers have expressed solidarity with the makers of 'My Favorite Cake.' A bright night for Iranian filmmakers at the Sundance Film Festival in Utah. 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