With the Filmmakers: Continuities and Discontinuities in Iranian Cinema
A rare opportunity to hear Iranian filmmakers discuss their work This panel discussion will examine the consistencies, breaks and gaps within Iranian cinema from pre-Revolutionary times to the present. Nacim Pak-Shiraz (University of Edinburgh) will be joined by renowned scholar Hamid Naficy (Northwestern University) and EIFF Artistic Director Chris Fujiwara to lead discussions with Iranian filmmakers. Sponsored by the University of Edinburgh [U]
Monday's session includes a screening of:
Only Image Remains
Roya Akbari/Iran, Canada/2014/30 min
Starting with her own memories of working as an actress on Abbas Kiarostami’s Ten, filmmaker Roya Akbari proceeds to elicit other testimonies on the masters of Iranian cinema from three people who are themselves among the foremost Iranian directors: Rafi Pitts on Parviz Kimiavi; Amir Naderi on Sohrab Shahid Saless; and Bahram Bayzai on Arby Ovanessian. Bayzai also analyses Haji Agha, the Cinema Actor (1933) by Ovanes Ohanian, considered the first feature film made in Iran.
Director/Producer/Screenwriter: Roya Akbari
Editors: Vlad Lunin, Roya Akbari
Sound: Reza Moghaddas
Special Thanks: Amir Naderi, Bahram Bayzai, Rafi Pitts, Fribourg International Film Festival (Thierry Jobin)
Tuesday's session includes a screening of:
The Crown Jewels of Iran (Ganjineha-ye gohar)
Ebrahim Golestan/Iran/1965/15 min
In Ebrahim Golestan's beautiful and poetic The Crown Jewels of Iran, he put in a narration that directly criticised kings and their jewels as the empty objects of their pride. Later the Minister of Art and Culture censored the film.
The film is remarkably condensed, very beautiful and powerful – the best example of Golestan’s mastery of form and rhythm in a cinema that is both political and poetic.
The copy of the film that will be screened at EIFF has the original uncensored Persian narration.
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