[custom_adv] Jalal Pishvaian was born on June 11, 1930 in the capital. He is an actor, known for Escape from the Trap (1971), Conquerors of the Desert (1971) and Dash Akol (1971). [custom_adv] If there is any country that regularly produces cinema that is both thought-provoking and beautiful, it is homeland. From old masters to newer auteurs, the films are considered a class apart.And while persian films are internationally acclaimed at the Oscars, Cannes and Berlin film festivals—earlier only a select few could glimpse these gems. But with online offerings, persian cinema is now only a click away. [custom_adv] Yet what's most interesting about Iranian cinema is that it exists in a peculiar paradox of tension between the political and the artistic. All films are subject to strict censorship laws that must adhere to the Islamic Republic’s moral, social and religious codes. Women must be shown in a constant state of hijab, and physical intimacy is verboten. [custom_adv] But regardless of these restrictions, Iranian filmmakers do not shy away from exploring sensitive and nuanced social, cultural issues of all kinds; their remarkable ingenuity and creativity allows them to flourish despite the obstacles. [custom_adv] Persian films are often humanist social dramas that explore a seemingly minimalist storyline, but through the art of allusion, they are rich in political subtext.The tension between religion and culture, as well as conformity and individual desire, creates a riveting viewing experience. [custom_adv] To be able to express emotions and create chemistry between the characters, persian filmmakers often lean on traditional elements such as a rich heritage of poetry and Sufi storytelling that combine allegory, and spiritual elements to circumvent social and cultural mores. [custom_adv] At times, the stories are told from a child’s perspective with the simplest of storylines. It is really a marvel how the most mundane event — returning a friend’s book, trying to buy a goldfish for Nowruz, losing a pair of shoes — turn it into a revelation of character, society and ourselves. [custom_adv] While we pat ourselves on the back when introducing differently-abled characters on our screens, persian cinema has been doing this since they started making films. [custom_adv] These characters are at times the protagonists and often times just part of the fabric of the film and treated with gentleness, kindness and love and affection and very much a visible part of the community.Another aspect of Iranian films that give them their unique realism is the blurring of lines between fiction and non-fiction and the use of professional as well as non-actors. [custom_adv] Despite a rigid set of restrictions, Iranian actors give such nuanced performances whether in individual roles or with ensemble casts that leaves the audience completely involved in the outcome of their story.
