Feature: Art And Politics @ The First London Iranian Film Festival

Britain's had a long fascination with the Middle East, although today it primarily revolves around nuclear proliferation, oil and human rights abuses, rather than exotic mysticism. Combining both old and new is the Iranian Film Industry, which is internationally lauded for its artistic cinematography, expression and voice...

On November 19, 2010, the first London Iranian Film Festival [1]  (LIFF) opens its doors to enthusiastic cinema goers. LIFF is a strongly non-political organisation, but the 1979 Iranian revolution and installation of theocratic government embedded all aspects of Iranian culture within the political sphere - so that creating art has become an inherently political act.

Iranian films have been showcased at film festivals throughout the Western world, collecting a host of awards and nominations. German director, Werner Herzog [2], declared that "the greatest films of the world today are being made in Iran."

'Women (in Iran) have had to experience the Revolutionary Guard... but 60% of higher education places are now being taken up by women'

The media’s fascination and portrayal of Iran has assisted in promoting its cinema. Audiences are seeking a foil for 30-second news clips, to gain a greater insight and understanding of an area that has dominated so much international policy.

It was not the revolution and subsequent censorship that was the sole stimulus for such prolific and artistic output. Iran has never experienced the benefits of a society with freedom of expression and has a history of using poetry to articulate otherwise forbidden subjects. It is the subtlety with which Iranian artists have always tackled controversial issues that has placed them at the pinnacle of international cinema. This led film director Martin Scorsese to say that it is an Iranian director, Abbas Kiarostami [3], who "represents the highest level of artistry in the cinema." This subtle artistry is such an innate aspect of Iranian culture that it would be difficult to lose, even if censorship was lifted.

Human rights in Iran [4] have been at the fore of much international thought with regards to the region. The issue is directly confronted in the films produced in Iran - as a result of censorship and the subject matter of many films. Even those which seek to distance themselves from party politics are unable to remain completely apolitical. Many of the films shown in the West are in fact banned in Iran and permits are required for any filming to take place.

'One of the greatest Iranian film-makers, Jafar Panahi, was imprisoned for "an idea of a film that he wanted to make"'

Zamani Esmati’s guerrilla-shot 'Orion [5]', shown in October 2010 at the 54th BFI London Film Festival [6] and filmed without the required permits, was described as a "searing indictment of the treatment of women in certain sections of Iranian society."

The risks of shooting without permission are manifold. In an interview, director Rafi Pitts [7] describes how one of the greatest Iranian film-makers, Jafar Panahi, was imprisoned for "an idea of a film that he wanted to make." Pitts’ own film, 'The Hunter' [8], which premiered at the Berlin Film Festival and opened at cinemas in Britain last month, would never have been approved had he requested permits after the 2009 election. It tells the story of Ali, a man recently released from prison whose only comfort is in his family and seeking solace hunting in the woods. When his wife and child are killed in cross-fire between police and insurgents, crisis point is reached and Ali targets two police officers on the freeway through the visor of his gun.

It is often suggested that repressive regimes act as a stimulus for the arts. Professor of Literature and Women’s Studies at Duke University, Negar Mottahedah [9], supports this statement with regards to Iranian cinema, telling CNN that "film cultures have flourished oftentimes when they have been under restrictions."

Yet Maziar Bahari, a documentary-maker from Tehran [10], argues that ‘romanticising censorship is a great disservice to Iranian artists... Censorship has had a negative effect on Iranian arts for centuries. I believe without censorship we would have many other great artists and film-makers whose talent and effort cannot bear fruit because of governmental, religious and social restrictions.’

Women are playing an increasingly important role within the Iranian film industry. There are record numbers of film school graduates and a higher proportion of female directors than most countries in the West have. Women (in Iran) have had to experience the Revolutionary Guard under Ahmajinedad’s rule, with the enforced adoption of the hijab and severe social restrictions. However, in some areas, there have been improvements; 60% of higher education places are now being taken up by women. This is translating in an increased level of activism among women and youths, much of it expressed through subculture, film and the internet.

Words: Sofya Shahab
Photo: UKIFF [11]