Parviz parastui biography sample
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2014 marked the first year that the Tallinn Black Nights Film Festival was able to host an international competition programme. The main programme therefore offered more diversity than the EurAsia competition of previous years. Still, there was one type of movie that seemed to be a rarity: the humorous, yet artistically credible movie that portrays the human condition without collapsing into melancholy or melodrama (like, say, ”Birdman” that was screened outside of competition).
The important exception in this respect was ”Lucifer”, a film by Belgian director Gus van der Berghe, shot in Mexico with a local team of actors that consisted almost entirely of amateurs. A supernatural tale takes place in a remote and pious village, which is visited by the Lord of Light (Gabino Rodriguez). The circular shape of the image is produced by a technology invented by the director: the “Tondoscope“, which is basically a set of cameras and circular mirrors. In addition to beautiful imagery, ”Lucifer” has a charismatic leading actor and a script which mixes Catholic mysticism with a healthy dose of humor. It wasn’t much of a surprise, then, that van der Berghe won the festival’s main prize.
On the other hand, there was one movie in the main programme that I absolutely loved regardless of its
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Interdependent Elements: An Interview with Iranian Film Editor Haideh Safiyari
By Ali Moosavi.
In the first place, you must be very patient…. You should know that it is a very difficult and time-consuming job and can affect your health. Meanwhile, you should be sensitive to the social issues in your environment and learn from other forms of art, too.”
When it comes to Iranian cinema, those aficionados of world cinema will probably be familiar with the names of Abbas Kiarostami, Asghar Farhadi, Jafar Panahi and Mohammad Rasoulof. Cinephiles with a particular interest in the Iranian cinema are likely to also know Dariush Mehrjui, Bahman Ghobadi, Mohsen Makhmalbaf, Bahram Beyzaei, Majid Majidi and a few other directors. Some may be aware of actors such as Shahab Hosseini, Taraneh Alidoosti, Golshifteh Farahani, Payman Maadi, Niki Karimi and a few others. The more ardent cinephiles may even be aware of Iran’s best known cinematographer, Mahmoud Kalari, a frequent collaborator with Kiarostami, Farhadi, Panahi. However very few are likely to know about Haideh Safiyari. Yet, in Iran among cinephiles she is a household name and her name on the movie promises quality. She is the first film editor in the history of Iranian cinema to be this well-known. She has edited
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