For most Americans used to a particular image of Iran, an encounter with a large number of Iranian films can come as a bit of a shock. Films about romantic love, divorce, infidelity, class inequality, social oppression, gender discrimination, suicide -- and all about Iranian society itself? How is this even possible in this theocratic republic? The answer lies in the peculiar yet dynamic institutional arrangements, underpinned by an equally unpredictable landscape of contending factions that belies the myth of Iran as a monolithic entity. While censorship is very real, and certain topics are taboo, filmmakers in Iran, more than in any other media form, have been able to negotiate ample breathing room, resulting in one of the most remarkable national cinemas for the last three decades found anywhere in the world.
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