The cinema enthusiasts were left astonished!
Mohammad Taghi Fahim – Veteran Film Critic
According to the Cinemadrame News Agency and as reported by the Jam-e Jam newspaper, Mohammad Taghi Fahim wrote in a note dated December 28, 2024: Some decisions, appointments, and managerial planning in cinema over the past few months indicate an unreasonable trajectory. Undoubtedly, in any event surrounding new policy-making, there are always some dissenters and others in agreement. In such cases, there are no absolutes, but the proportion and size of each side determine and stabilize the new decision. Reviewing the policies and decisions of the new cinema management reveals serious fluctuations.
From the impromptu announcement of the separation of the Fajr Film Festival to the introduction of its homogeneous policy-making council, from the futile changes at Farabi to the publicity of the selection committee (which left most cinema enthusiasts astonished), from the suspension of regulatory councils at the Ministry of Guidance (the licensing councils for production and screening) to archiving and closing the cases of Farabi, all these indicate a lack of “polishing” in implementing diverse approaches. Yes, everyone who has organized a festival – including the writer – knows that policy-making councils are inherently symbolic and do not play a role in shaping the direction or quality of the event. However, it cannot be denied that such councils are the “face” of any festival. Even for some strategic changes that should have been subjected to expert and media challenges before being finalized, this management opted for secrecy and made abrupt decisions. Although it’s late, I will present and expand on the issue as an example.
The announcement of the separation of the Fajr Film Festival without giving importance to the views of media and cinema stakeholders—does this signify authority? Or, conversely, is its origin precisely and meticulously conservative, designed to cater to the financial and political desires of its orchestrators rather than considering the national interests and professional rights of the cinema community? Amid the current struggles with job security and financial constraints in cinema, what does launching another festival under the title “International Fajr Film Festival” signify? Dividing the Fajr Film Festival’s budget not only fails to resolve any of Iranian cinema’s numerous issues but also exacerbates its challenges.
Interestingly, during this period, while the new cinema officials pursued setting up project-based initiatives without strong rationale, a long-standing and significant festival like Berlin faced budget cuts. Reports indicated: “The Berlin Senate, as part of reducing city expenses, cut three billion euros from the city’s operating costs, including two million euros from the Berlin Film Festival’s budget.” This reduction comes despite prior announcements by Berlinale spokespersons about serious financial difficulties facing the festival. What about here? Instead of focusing on the pressing concerns of inflation, bread, housing, and overall welfare for the cinema community, these officials have created a situation where the cinema budget, in the form of the International Fajr Film Festival project, flows into the accounts of a few affluent figures in cinema. Iranian cinema does not belong to a handful of people.
Iranian cinema has reached this point through the sacrifices of thousands of filmmakers who, in the worst political, social, and economically impoverished conditions, persevered and endured. This cinema, now governed by the current officials, has always been celebrated and given credibility by media professionals who are now excluded in the regressive changes. It is not unfounded to say that laying a crooked brick will lead to a crooked structure up to the heavens. However, the opportunity for reform exists, provided the trust and patience of stakeholders are restored and strengthened.
