[custom_adv] Hedieh Tehrani (born 25 June 1972) is an actress. She is most noted for willingness to play mysterious, stony-faced and cold-hearted women. She began her acting career with Masoud Kimiai's The King (1996).Mohammad Reza Sharifinia and Azita Hajian were the first ones to propose her a role for The Fateful Day. [custom_adv] She auditioned for acting in The Fateful Day but refused to cooperate and the role went to Ladan Mostofi. Before acting in The King, she refused a part in Leila directed by director Dariush Mehrjui. Kianoush Ayari then approached her for acting in his movie, To Be or Not to Be and again she refused to play. Masoud Kimiayi was the first director who succeeded to have her playing in his film The King. [custom_adv] The actress was arrested in 2016, in capital’s central Lala Garden for campaigning for Animal Rights, due to the gathering not being authorized by the government. The protest was organized after several municipalities put down a number of street dogs due to over population. The arrest has been condemned by some activists. [custom_adv] She married Hooman Behmanesh in 2007 but divorced him the same year. She received the second Crystal Simorgh of her career from the 24th Fajr International Film Festival, for Fireworks Wednesday. In 2006 she appeared in Bahman Ghobadi’s Niwemang. The film received the Gold Shell of the 54th San Sebastián International Film Festival. [custom_adv] New Wave films shared some characteristics with the European art films of the period, in particular Italian Neorealism. However, in her article 'Real Fictions', Rose Issa argues that films have a distinctively persian cinematic language "that champions the poetry in everyday life and the ordinary person by blurring the boundaries between fiction and reality, feature film with documentary. [custom_adv] " She also argues that this unique approach has inspired European cinema directors to emulate this style, citing Michael Winterbottom's award-winning In This World (2002) as an homage to contemporary cinema. [custom_adv] Issa claims that "This new, humanistic aesthetic language, determined by the film-makers' individual and national identity, rather than the forces of globalism, has a strong creative dialogue not only on homeground but with audiences around the world."
