Propaganda films also born. Idealistic young revolutionaries denounced the old regime and begin to

Since its birth, the Iranian cinema maintains links with strange power. It all starts during a trip to Europe Shah Mozaffar city square cinema Ed-In buying a camera and asked his official photographer to shoot a floral parade in Oostende, 18 August 1900 Thus was born the first Iranian film.
Long, film will remain a toy in the hands of Shah private use. Although the first rooms are emerging rapidly in 1904, they would grow in Tehran and the provinces until the 20s In 1928, a movie theater exclusively reserved for female audience is even open. A bold experiment that will prove a commercial failure.
Despite some resistance from religious at first, the film gradually found legitimacy in a traditional society. It should nevertheless expect 1932 to be realized that the first feature Haji Agha, movie actor of Ovanes Ohanian city square cinema - silent city square cinema movie parody city square cinema showing in the hostilities in this new art coming from the West. The first talking picture, The daughter of the tribe Ardeshir Irani and Lor Sepanta Abdol is also the first film censored. Government imposes a director at the end of propaganda absurd: an indicator announcing that one day a star, Reza Shah, the country out of chaos and banditry and restore the glory of his past. Iranian production is scarce and the public will prefer American films, Indian and Egyptian. In the sixties, Iranian production is becoming city square cinema more important with entertainment films borrowed heavily Indian and Egyptian films, often of ordinary quality. They often as rogue hero with a big heart (the djahels) and, through them, indirectly addressed the issues of poverty, social injustice - evils so much suffering to the population.
The "auteur" also takes shape in these years with Farrokh Gaffari, assistant to Henri Langlois and founder of the Cinematheque of Iran in 1958, author of South of the City (1958), which remained banned for five years, Ebrahim Golestan, author of Brick and the Mirror (1965) or The House is Black (1962) directed by Forough Farrokhzad (a woman!). Between new wave, Italian neo-realism and fatalism Shiite, a whole generation of filmmakers take their camera to expose the misery of the population: the cow Dariush Mehrjui (first Iranian film to be awarded prizes abroad) Gueyssar Massoud Kimiaï and a Kiarostami with the passenger. This movement became known as Cinemay-e-motafavet (different movie). Front slip through censorship, these filmmakers play finesse, multiplying interpretations levels to denounce the excesses of the regime and the inability of the Company to operate in a country or modernism brutally exposed to ancestral traditions .
At the Islamic revolution, one would have thought that is was the end of the Iranian film industry. However, after the triumph of February 11, 1979, Ayatollah Khomeini made a surprising statement: not only does not take a position against cinema, but encourages it ... while drawing a directive "Islamically correct" line. In a few months, the plan imposes a set of unwritten rules: the sympathy of the viewer should not go criminal or those who have sinned, marriage and family should be respected (address the issue of divorce city square cinema is allowed until 1998 and can not be filmed that in a negative light), adultery should not be mentioned, men and women should not touch (even if married), city square cinema it is forbidden to show a masked city square cinema woman, profanity is prohibited, religious can not be portrayed as comic characters or dishonest ...
Propaganda films also born. Idealistic young revolutionaries denounced the old regime and begin to honor the values of the revolution. The titles of some of these films speak for themselves: When the people rise up, Bloody Rice, Mutiny, The Cry of the mujahid, Soldier of Islam, Rain of blood ...
The first post-revolutionary Iranian movie receiving foreign price is the rider Amir NADERI in 1985 From there, many works, even if their projections are banned in Iran, are allowed to be exported and have been very successful in Europe: Abbas KIAROSTAMI Mohsen and Samira MAKHMALBAF, PANAHI Jafar Hassan Yektapanah Bahman GHOBADI their ... Censorship city square cinema is sometimes a sign advertising to hang a price abroad.
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