Iranian Director Mohammad Rasoulov, who escaped from Iran to Europe in 2024, was imprisoned by U.S. authorities for producing the drama “Seeds of the Holy Figs”, made a powerful assertion that underlined the importance of dissidents. Auteur auteur auteur jafar panahi on Saturday's revenge party against Cannes Palme d'e scoop, whose revival festival was just ac andand and and and and and at and at and at that at a in that at that at that at that at hathathate nathing at that at the at that is “the once drama''.
“This victory was a sudden and effective blow to the repressive equipment within the Islamic Republic,” Rasoulov, who lives in Germany, said in a shared assertion on Sunday.
“We congratulate Jafar Panahi; his family, who has been standing relentlessly with him over time; and the forgery and crew of this film, whose unity, faith and courageous threats and pressures suffered from security forces throughout the difficult and intelligent manufacturing industry,” said the film.
“We are delighted to know that the film will be screened extensively around the world soon, and now we have no doubt that ‘it’s just an accident’ will premature Iranian audiences over a lengthy audience, not a long official film network,” it continued.
Panahi was able to travel to Cannes to be imprisoned in two-time “propaganda to the state” and was banned from leaving Iran for more than 14 years, promoting his secret filming and publishing a passionate plea after gaining a palm.
“I think this is all Iranians, all people with different opinions, whether they are on earth (Iran or overseas) to allow me to ask for a factor,” Panashi said.
He added: “Let's put all the issues, all the changes. The most important thing now is the freedom of our country and our country.” “Let's be part of the power. No one should dare to tell us what kind of clothes we should always wear, what we should always do or what we shouldn't always do,” Panahi continued, while sharing the stage with the stage forged by his films and with many public actresses.
“It's just an accident” is a group of former political prisoners who kidnapped a person they imagined to be their former interrogator and torture. This movie, the director was interviewed choose His experience in Iran prisons has impressed and now gives Panahi, 64, who won the April season in 2015 with the “Taxis” of Berlin and the “2000 Circle” of Berlin, as he won the highest prize in any respect after he was willing to participate in the 2015 position after he was willing to participate in the 2000 position.
French information company AFP asked him to worry about “it was just an accident” after successfully winning the highest film award at the Cannes Film Festival, and he replied: “Not. We are leaving tomorrow.”
Meanwhile, as the dissident director travels to Iran again, the Iranian media largely ignores Jafar Panahi's important Cannes Palme or Victor.
Although Iran's national information company IRNA uses his image and titled “The world's largest movie pageant becomes a historical past in Iranian cinemas”, Panahi's information that snapped up Palme is not on the websites of American high-English English information retailers, Tehran Instances and Tehran Instances and Iran, the historical past of Iranian cinemas. As a replacement, the latter printed a merchandise saying that the documentary “The Whale Shark Final” by Iranian filmmaker Ramtin Balef may show rivals in London's upcoming Rain Dance Film Competition.
Here are the complete assertions of Mohammad Rasoulov, Kaveh Farnam and Farzad Pak:
Palme d'Or was awarded an easy accident, marking the beginning of a brand new wave of success in cinemas that emerged from the ban and censorship.
This victory was a sudden and effective blow to the suppression of equipment within the Islamic Republic.
We congratulate Jafar Panahi; his family was standing by his side as time went by. The film’s forgery and crew, through solidarity, faith and courage, resists threats and pressures throughout its tenacity and secret creation.
We are pleased to know that the film will soon be widely screened around the world, and now we have no doubt that a simple accident will bring Iranian audiences earlier than the long official film network, rather than the long official film network.
After years of perseverance, resistance and creative battles, the decay and collapse system of generations of filmmakers has been pushed again. Now, censorship cinemas in Iran are more active than ever. We can imagine where this cinema is heading, and we can guarantee that many Iranian filmmakers (especially young technology) are looking for new ways to create free, humanized and liberate works.
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