IFFI-2008 - International Film Festival of India

More documents

Recommendations

Info

COMPETITION COUNTRY FOCUS - IRAN IFFI-2008 Cafee Setareh 2006, Colour, 35mm, 102 mins, Persian Director Saman Moghadam Screenplay Peyman Moadi Cinematography Bahman Badakhshani Editor Mohammad Reza Moueini Music Amir Tavasoli Cast Afsaneh Baygan (Fariba), Pejman Bazeghi (Ebi), Haniyeh Tavasoli (Saloumeh), Roya Teimourian (Molouk), Hamed Behdad (Khosro), Shahrokh Forutanian (Fereydoon), Massoud Raygan (Father) Sound Iraj Shahbazi, Amin Mirshekari, Parviz Abnar, Mansoreh Shahbazi Production Hedayat Film Festivals & Awards Mill Valley It is the life story of three women in an old district of Tehran. Fariba earns her and her family's living by running a small café in the district. Her husband is jobless and drowned in debauchery… Saloomeh, the young and beautiful girl of the district dreams of marrying a boy called Ebi. She has a desire for a more comfortable life, but as a mechanic, Ebi cannot afford the wedding costs or renting an apartment. Trying to make dirty money, Ebi is arrested and imprisoned…Molouk is a midlife woman that has fallen in love with one of district's young men. Khosro likes her too, but not as his wife. Molouk who is much older than khosro tries to remain young by dedicating some time to music and sport. Born in Tehran in 1969, Saman Moghadam studied filmmaking at Cinema Training Complex. His debut feature, Siavash, was one of the top-grossing titles in Tehran in th 1999. In 2002 Moghadam's Party earned a best actress award at the 9 Pyongyang Film Festival. This is his fourth feature film, after Maxx (2005). 124
IFFI-2008 COUNTRY FOCUS - IRAN 1969, 35mm, Colour, 105 mins, Persian The Cow / Gaav Masht Hassan owns the only cow in a remote and desolate village. He treats the cow as his own child. When he is away, his cow dies. Knowing the relationship between Masht Hassan and his cow, the villagers hastily dispose the corpse, and when Masht Hassan comes back, they tell him that his cow ran away. Masht Hassan is devastated; he starts to spend all his time in the barn, eating hay, and slowly believes that he is the cow. It is a compelling symbolic drama, the story coming from renowned Iranian literary figure Gholamhossein Sa'edi. In 1971, the film was smuggled out of Iran and submitted to the Venice Film Festival, where, without programming or subtitles, it became the largest event of that year's festival. The film was a turning point in the history of Iranian cinema. The public received it with great enthusiasm, despite the fact that it had ignored all the traditional elements of box office attraction. Director Dariush Mehrjui Screenplay Dariush Mehrjui and Gholam-Hossein Saedi Cinematography Fereydon Ghovanlou Editor Dariush Mehrjui Cast Ezzatolah Entezami, Ali Nassirian, Jamshid Mashayekhi, Khosrow Shojazadeh, Jafar Vali , Ezatallah Ramezanifar, Firouz Behjat-Mohamadi Sound Hormouz Farhat Production Dariush Mehrjui Festivals & Awards 1972: Berlin (OCIC Award - Recommendation, Forum of New Film) As an Iranian New Wave cinema icon, Dariush Mehrjui is regarded to be one of the intellectual directors of Iranian cinema. Born in Tehran in 1939, he moved to the United States and entered the University of California, Los Angeles' (UCLA) Department of Cinema. He switched his major to philosophy and graduated from UCLA in 1964. Returning to Iran in 1965, he almost immediately embarked on a filmmaking career. He made his debut in 1966 with Diamond 33. His second film, Cow (1969), brought him national and international recognition. In 1973 Mehrjui began directing what was to be his most acclaimed film, The Cycle. Co-sponsored by the Ministry of Culture, it encountered opposition from the Iranian medical establishment and was banned from release until 1977. It was universally admired abroad. The film won the FIPRESCI Prize at the Berlin Film Festival in 1978. In 1981, Mehrjui travelled to Paris and remained there for several years, during which time he made a feature-length semi-documentary for French TV, Voyage au Pays de Rimbaud (1983). Feeling homesick, he returned to Iran to film The Tenants (1986), a comedy of conflict between apartment tenants and a realtor seeking to throw them out. In Hamoun (1989), a portrait of an intellectual whose life is falling apart, Mehrjui sought to depict his generation's post-revolutionary turn from politics to mysticism. The 1990s also found Mehrjui releasing films dealing with women's issues. Banoo (1991, released in 1998) more or less brought Luis Buñuel's Viridiana to Iran. Sara (1993) did the same for Ibsen's A Doll's House. Pari (1995), a transplanting of Salinger's Franny and Zooey, attracted the attention - and the threat of a lawsuit - from the reclusive author. Leila (1996) was all Mehrjui's own and the first to receive any sort of wide theatrical release in the West. The story of a marriage undone by infertility and a meddling mother-in-law, it earned Mehrjui rave reviews. 125
Page 1:
Opening Film
Page 5 and 6:
Competition (Asia-Africa-Latin Amer
Page 7 and 8:
IFFI-2008 COMPETITION JURY Niki Kar
Page 9 and 10:
IFFI-2008 COMPETITION 2008, 35 mm,
Page 11 and 12:
Page 13 and 14:
Page 15 and 16:
IFFI-2008 COMPETITION Kazakhstan-Ge
Page 17 and 18:
Page 19 and 20:
Page 21:
IFFI-2008 COMPETITION 2008, 35mm, C
Page 25 and 26:
IFFI-2008 CINEMA OF THE WORLD 2008,
Page 27 and 28:
Page 29 and 30:
Page 31 and 32:
Page 33 and 34:
Page 35 and 36:
Page 37 and 38:
Page 39 and 40:
IFFI-2008 CINEMA OF THE WORLD Franc
Page 41 and 42:
IFFI-2008 CINEMA OF THE WORLD Franc
Page 43 and 44:
IFFI-2008 CINEMA OF THE WORLD Cherr
Page 45 and 46:
IFFI-2008 CINEMA OF THE WORLD Germa
Page 47 and 48:
Page 49 and 50:
IFFI-2008 CINEMA OF THE WORLD Germa
Page 51 and 52:
IFFI-2008 CINEMA OF THE WORLD Hunga
Page 53 and 54:
IFFI-2008 CINEMA OF THE WORLD Israe
Page 55 and 56:
IFFI-2008 CINEMA OF THE WORLD Kazak
Page 57 and 58:
IFFI-2008 CINEMA OF THE WORLD How C
Page 59 and 60:
IFFI-2008 CINEMA OF THE WORLD Teo's
Page 61 and 62:
IFFI-2008 CINEMA OF THE WORLD Mexic
Page 63 and 64:
IFFI-2008 CINEMA OF THE WORLD The M
Page 65 and 66:
IFFI-2008 CINEMA OF THE WORLD The P
Page 67 and 68:
IFFI-2008 CINEMA OF THE WORLD The G
Page 69 and 70:
IFFI-2008 CINEMA OF THE WORLD Portu
Page 71 and 72:
COMPETITION CINEMA OF THE WORLD IFF
Page 73 and 74: COMPETITION CINEMA OF THE WORLD IFF
Page 75 and 76: IFFI-2008 CINEMA OF THE WORLD 2007,
Page 77 and 78: IFFI-2008 CINEMA OF THE WORLD Who's
Page 79 and 80: IFFI-2008 CINEMA OF THE WORLD Taiwa
Page 81 and 82: IFFI-2008 CINEMA OF THE WORLD Taiwa
Page 83 and 84: IFFI-2008 CINEMA OF THE WORLD Thail
Page 89 and 90: IFFI-2008 CINEMA OF THE WORLD A Tho
Page 91: IFFI-2008 CINEMA OF THE WORLD Vicky
Page 94 and 95: FILM COMPETITION INDIA WORLDWIDE IF
Page 96 and 97: FILM COMPETITION INDIA WORLDWIDE WO
Page 98 and 99: FILM COMPETITION INDIA WORLDWIDE WO
Page 101 and 102: Retrospectives Aki Kaurismaki John
Page 103 and 104: IFFI-2008 The film begins with an u
Page 105 and 106: IFFI-2008 AKI KAURISMAKI Iris has a
Page 107 and 108: IFFI-2008 AKI KAURISMAKI Always Be
Page 109 and 110: IFFI-2008 JOHN LANDIS USA Coming To
Page 111 and 112: IFFI-2008 WONG KAR WAI Regarded as
Page 113 and 114: IFFI-2008 WONG KAR WAI Fallen Angel
Page 115 and 116: Year of Russia In India
Page 117 and 118: IFFI-2008 YEAR OF RUSSIAN INDIA Rus
Page 119 and 120: IFFI-2008 YEAR OF RUSSIAN INDIA Mos
Page 121: IFFI-2008 YEAR OF RUSSIAN INDIA The
Page 126 and 127: COMPETITION COUNTRY FOCUS - IRAN IF
Page 128 and 129: IFFI-2008 COUNTRY FOCUS - IRAN 2006
Page 130 and 131: Special Tribute Peter Ho-Sun Chan N
Page 132 and 133: IFFI-2008 PETER HO-SUN CHAN 2007, 3
Page 134: IFFI-2008 COMPETITION NIKI KARIMI 2
Page 137 and 138: IFFI FILM HERITAGE SECTION IFFI-200
Page 139 and 140: IFFI FILM HERITAGE SECTION IFFI-200
show all

IFFI-2008 - International Film Festival of India

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?