The Right to Image and the Politics of Representation/ Mina Javani

Iran’s underground cinema, as a semi-independent and often marginal sector of the country’s film production, has consistently navigated the intersection of legal restrictions, cultural pressures, and media representations. These films, produced outside the official mechanisms of Iranian cinema, not only provide a platform for expressing real social and ecological experiences, but also serve as vehicles […]...

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From acting to smuggling/ Negar Jokar

Kolbari and sukhatabari are laborious occupations that a significant percentage of citizens are engaged in due to the lack of suitable and equal job opportunities. Every year, a large number of kolbars and sukhatabars are injured and killed as a result of military shootings, falling from mountains, and freezing in Iran. On the fifth of […]...

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Bahman Maghsoudlou: Iranian cinema has failed/ Ali Klayi

Ali Kala’i Behrouz Moqaddam is a filmmaker, critic, and researcher of cinema. He has been active in the field of Iranian and international cinema for over 40 years. Before the revolution, in Bahman 57 (1974), he received the prestigious literary award of Forough Farrokhzad for his writing and editing of a series of books about […]...

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Niloufar Beizaei: In Iranian cinema, women’s rebellion is ridiculed.

Niloufar Beydai, a playwright and theater director, was born in Tehran on January 15, 1967. In 1985, she was forced to leave the country and moved to Germany. She studied German literature, theater, cinema, and television, and education in this country. After completing her studies in 1994, she founded the theater group “Darycheh” in Frankfurt […]...

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Mohammad Tangestani: Chastity has no meaning in cinema/ Simin Rouzgar

  Conversation with Simin Rouzgar Mohammad Tangestani is a poet and journalist. He has experience working with various artistic and social publications in Iran, and is the author of books such as “Amir Zahra” and “Citizen of the World”. In the past two years, he has specialized in the field of censorship and self-censorship. In […]...

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The portrayal of women on Iranian television/ Jafari’s thoughts.

This is a caption This is a caption. Jafari’s thought She screams and hits her head and face with both hands while crying, goes to sleep with full hijab and wakes up, gets ready to go to the salon or buy clothes, and locks her husband in the house. If she is dying, she definitely […]...

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Media in the shadow of politics/ Sina Kiani

This is a caption This is a caption Sina Kiani State television, cinema, and theater have always been available spaces for women to engage in, participate, and consume cultural productions. However, there has always been inequality in terms of time and location distribution compared to men. The position and power of women in each of […]...

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From Caesar Kimiaei to Farhadi the seller; Changing the image of women in Iranian cinema / Ali Ajami.

This is a caption. Ali Ajami In the span of half a century, Iranian society has undergone significant changes from the film “Qeysar” (1348) to “The Salesman” (1396). Comparing the portrayal of Iranian society in these two films can demonstrate these changes; however, this writing will focus on the changes that have occurred in the […]...

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The story of the white torture in the film “Confession” by Siavash Khorramshahi.

  Conversation with Siavash Khoramgah The film “Confessions”, based on a true story, is about the white torture and forced confessions in Iranian prisons. It will soon be broadcasted on one of the satellite networks in Persian language, on the occasion of the anniversary of July 18th, 1978. This documentary was produced in Turkey and […]...

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