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Salem Cinema

1. Director's (Mohsen Makhmalbaf) statements in the group of five thousand volunteers

Acting in Ferdows Garden

Director: This year is the 100th birthday of cinema. We are preparing for this occasion

We are a film about actors who are interested in cinema, the filming of which is based on this

. The actors are also chosen from among you. Today, and this is where it started, you

interested people who came through the newspaper advertisement, there are many of you

It's too much, so please maintain order so that my assistants can fill out these thousands of forms

spread among you. Among you, about a hundred people will be selected for acting

You are also the actors of this .

do How many of them are playing the main roles in this movie? So let

me tell you that I like your movie

welcome

Fragile
They enter. The crowdand
rushed to the door, some underfoot
they are
. Everyone tries to get ahead of others. 2. Director's

conversation with a blind volunteer

Director: Stand inside that frame. what is your name?

Blind: Healthy

Director: Salem

Blind: Are you Mr. Makhmalbaf?

Your Name? Director: I am in front of you.

Nabina: Hadi.
Director: Where did you come from?

Blind: From Kerman.

Director: Why did you wear glasses?

Blind: Well, huh?

Director: Is there a specific reason?

Blind: Shouldn't I wear glasses?

Director: Have you ever acted?

Blind: Theater, with my friend for several years.

Director: Are you ready to play a piece now?

Blind: Yes.

Director: Play.
Blind: Right here?
Director: Yes.

Bina: Is there nothing around me?

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Director: No. But do not move more than one step from each side because you will be out of the light. Blind: Yes.

My whole

life, my whole love is cinema. It's true, my head can't see it, but my heart can see it. It feels. Director: Have you

ever gone to the cinema? Bina: With my friend a few

times. Director: Your friend, you can't see

the pictures. Explanation: Yes,

gave
there. Director: Why do you want to be an actor? Blind: In cinema or
.
which had no sound
theater? Director: In the cinema.

Blind: I want to show a person with feelings. Director:

Excuse me if that role needs eyes?

Blind: It depends on the director.

I don't want to describe myself, but in order to come here and play,

I slept in the park for two nights. Director: Where were you? Blind: In the park.

Director: What were you doing? Blind: I was waiting for the acting test to start. Director: Why did you sleep in the

park? Blind: Because I had no place to sleep in this city. Director: If I ask you a

question, will you tell the truth?

Blind: Yes. Director:

You can't see, so how did you feel about

the cinema? Blind: With my heart. Director: Tell me what is cinema?

Bina: Cinema is a kind of love. Director: If I ask you

to take off your glasses and cry so that I know you know how to act, will

you cry? Blind: Does it mean it is necessary? Director: Yes, of

course. take

off your glasses Am I not taking off my glasses? Blind: May Director: Please take off your

glasses and open

your eyes. Blind: Is it necessary?

Director: Of course. Didn't you say

that I am willing to give everything for cinema? Blind: Yes, but...

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Director: Open your eyes... don't lower your eyes. Talk about your interest in

cinema. Blind: All my love is

cinema. Director: Open your eyes so we can see that you haven't
seen the cinema. Blind: I like cinema. I am ready to do everything
for him. Director: Do you do whatever the cinema
wants? Blind: If there is no
offense. Director: If I ask you to open your eyes and show us that you are not blind,
will you do
this?
Blind: Yes. Director: Open your eyes. The blind man opens his eyes. Blind: Why did
you
lie to us? Blind: Because of my
interest in cinema. Director: Did you think you would be more
accepted if you said I was blind? Blind: I just acted. Because
you wanted a game. Director: Why did
you choose blind? Blind: Because I
understand blindness. Director: Has
anyone been blind around you? Blind: No. But every time
we saw a blind person, I helped him. Director: Now if I say that this is the cinema,
this is the reality that you
decided to play and Did you do? Are
you satisfied?
Blind: Does that mean my entire performance?
Director: Yes. Blind: Does that
mean I can't come to the cinema anymore? Director: No.
Are you satisfied? Blind: Yes, because I came
all the way like a blind man. 3.Zinalzadeh's conversation with the beggars in the
courtyard,
please keep your distance and don't
talk to each other.Zinalzadeh: Take the forms.
4.Director's conversation with three
girls.First girl: I
don't like to play
the role of a woman.Director : Do you
like the role of a girl? First girl: Yes. Director: Why? First girl: Because
I like it. Director: If you were married, would you pla
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Director: Why do you want to be an actor? First girl: Because

I am interested. Director: If I say that your

real reaction is better than the acting of actors, do you still prefer to act like actors? First girl: No, I don't like to play the role of

a woman who is not a girl. Director: Think about your role in this movie.

but... First girl: Yes, I understand you. Director: So whatever Do you like to be shown? What do you say,

you want. First girl: Can't my pictures be played anymore? Yes, if the director: If you stay, you will broadcast, no. First

girl:

What are the pictures that have been taken so far? Director: The choice is

yours. First girl: I don't know. Director: Do you have

doubts? First girl: doubt? Yes. Director: Are you sure? My pictures
won't be
director: real. played anymore; So I'm going. The first girl: if the

Another girl: Really? Director: Real. Another girl: Should I really cry? Director:

Yes. can't you Another girl: My tears always

come early. But now... Director:

If I say don't cry, you won't become an

actor, won't you still cry?! Another

girl: Why? Because I am very

interested in cinema. Director: Excuse me, do you want to play or not? First girl: I don't know. Director:

Don't you know? First girl:

Well, he is interested, but...

Director:
ÿ
Crying. Another

girl: She is not coming. Director: You take a

picture with number 1059. Finally, do you

want your reality to be in the movie? First girl: Reality? Yes. 5. Conversation

with some female directors: What did you come for?

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Girl: 1 to get some fame. Director:

You wrote that you were born in California. When did you come to Iran?
Daughter: 2, 7

years old. Director: What do you want to play for?

Girl: 2. I think if I put myself in other people's roles, I can have better social relations with
people. Director: What do you
want to play for? Girl: 3 because an actor takes the place
of different people. He can understand people better. Girl: 4. I have abilities through which
I can

communicate with others. Director: What did you come for? I want to talk Girl: 6 with
you Director:
Did you come to act? Girl: 6 No.

Director: So what did you come for?

What did I come for? I don't want to talk in front of anyone, girl: 6, of course I do. Director:
We have
nothing to say here. Girl: 6 So I'm going. Director:
Move the ladies over there.
Girl: 6 I want to talk privately. Director: Everyone

go? Girl: 6 No, can I come forward and talk to you?

Director: Can you all go

back? [Everyone goes back.] Girl: 6 Can I sit here? Director: Sit
have a problem, that's why I came here. I love a down. Girl: 6 I
boy. Director: What? Girl: 6 I love
a boy who we were

supposed to marry. But because of his family's opposition to our marriage, he went to France
from
Iran. I was
supposed to follow him. But they did not give me a visa because of my age. I said it is
possible for this film to go to a festival in France. Director: So what does this matter have to
do with your love? Girl: 6, I said that if I am an actor in this movie, maybe they will invite
me, I will be solved.

Visa problem And

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Director: First you have to know how to act so that they will invite you. do
you know how to play Girl: 6 I know
how to play to some extent. Director: It should be inside that frame.
You have thirty seconds to cry.
Girl: 6 I don't want a role. Director: Didn't you say that you want to be an actor so
that you will
be invited to the film that went abroad? Girl: 6 But I didn't come
to become a famous actress. Director: I have to test to see who can cry well, or
laugh well to choose him. [The girl cries briefly.] Director:
Why did you cry? Girl: 6 You
said to cry. Director: You
have ten seconds. Girl: 6 I don't
want to cry anymore. Shall I shout? Director: So your love is
that much? Girl: 6 Should I show
my love to everyone? Director: You came to
ask us for help. one two three four five six seven eight nine ten. I can't do
anything for you. Girl: 6 Goodbye. Director:
Goodbye... Was
that your love? Girl: 6 I tried my best. You
cannot help. Director: What can I do to help? Girl: 6 I said
maybe. Director: If you were in my
place, could you
help? Girl: 6 maybe. Director: Come forward. What can I
do to help?
Girl: 6 I said maybe. Director: Act in such a
way that I will put you
in the film and you will also reach your goal
brush up

Girl: 6 games? I can't play any way now. Director: There

is no way I can let you go. Girl: 6 Goodbye. From
there, tell that boy,
you will not be the director any more: Goodbye. Can you sacrifice? Girl: 6 Yes,
yes. Director: Tell me.
Girl: 6 Who should I
tell?
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Director: Tell the camera. Because he sees your movie anyway. hurry up. Tell
the
director: If this role is going to be yours, you are satisfied to be invited. Girl:
6,
that's my goal. Now, if they are willing to invite me, I am willing. Director: Do
you have a problem with your secret being seen in
the cinema? Girl: 6 I
don't know... no. Director: If we don't show,
we won't be invited. Girl: 6 Can this movie
help me? Director: I don't know. But this
helps me, let them see it in was your idea. Girl: 6 If it
the cinema. Director: Write, I agree, take the collection as well. One of you
accepted. If you don't have
a collection, you are not in
the movie.
Girl: 6, am I coming out of the
movie? Director: Yes. Girl: 6 So I will hold it in my hand.
Director: If he is his friend.
Only he stays
in the movie. Girl: 1 Are you joking? Director: No. Girl:
1 So I will take my hand. [grabs Calcutt.]
Director: Why do you want
to act in a movie? Girl: 1 Well, I like it. 6. The director's
conversation with the singing and energetic volunteers.
Everyone sings. Then
everyone
sings different songs
together.
Director: Are you Indian?
Group: No.
And they eat the ground. do Director: Are you American? Group: No.
Director: Where are you? Group: Cinema people. Director: Everyone is
shooting at each other, very good action. Here's the grenade, [throws an
automatic toward a group in a frame.] Go. Be in the frame. [All of them explode
like a compressed grenade.] Hollywoods are up. shoot hurry up.
And because he doesn't
behave like others. A boy doesn't listen to him
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Boy: I don't like action. Director: So

what do you like? Boy: Affectionate.

Director: Play

emotionally. Boy: I like the movie.

Director: They liked action, they

acted. They liked to sing and sing. Play with emotion. Can I play later? Boy: May

A man: Shouldn't an actor play every role? Director: That's right.

Every actor should be able to carry every role. kill be killed sing Boy: I am not an actor. I came to
be tested. Are you an

actor or not? sing [The boy shakes his head at the

director: negative test.] Shoot. [The broke boy shakes his head.] Take a shot. Boy: I don't like action.

Director: What do you like? Boy: Affectionate. Director: Laughter? [The boy is standing silently.]

Say something emotional. Boy: I

love you. Cut to the picture of girls

and boys in the

yard. No sound can be heard except for the singing of Danjeshgan. 7. Director's

conversation with a

group where one of them is protesting. Director: Everyone laugh. [They laugh.] You have

thirty seconds to

cry. Anyone who hasn't cried should go out. [Everyone tries to cry. Only two or

three people can't do it. An actor must be able to laugh and cry. Cat. A man: Even if you cry from

the bottom of your heart, no tears will come out. But I was able to do just that. And even though they

couldn't cry, they don't leave. Everyone is standing.

Director: Gentlemen, get out, you are rejected. The population is large and our time is short. Whoever

does not cry, we will reject him in the first test. Protesting man: I have a question.

Director: Tell me. Protesting man: An actor is standing in front of you, if you are telling the truth,

ask him to laugh and immediately cry so that we can see if this is

possible. Director: We don't have

actors here.

Protesting man: Your assistant who starred in the movie Bicycle Run. Mr. Zainalzadeh is standing

there.
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Director: Mr. Zeinalzadeh, stand there and cry. You should also be with him. You have thirty
seconds to cry or you will be fired. Protester: Don't
look in the light, look at Mr. Makhmalbaf. Director: [to Zainalzadeh] Look
at me. 1, 2, 3, 4, 5, 6, 7, 8, 9. 10. Protester: You count two seconds as one. Director: He is in
tears right now. You want to check his face and everyone

the tears. See

Protester: I agree. Director: If you

agree, go quickly and try to cry well for this cinema. We have laughter if you want. The third
man: 8.

The director's conversationwith a

group who consider themselves similar to western actors
A group falls to the ground. Only a little girl is standing in the hand. Director: Which actor
do you look like? A man: Jordan Baker.
One man: Steve McQueen.
A man: Kirk Douglas. One
Man: Jeff Bridges and

Harrison Ford. Man: John Davis. A man:

Alain Delon. A man:
Arnold Schwarzenegger.
They say I look like Marilyn

Monroe or Jennifer Jones. A woman: Well, many. Paul Newman: If you pay attention
to my appearance, I look like Paul Newman in his youth, you might laugh, but my friends
say. Director: Play. Paul Newman:
Shall I play? I play an
ancient sport. Director: Paul Newman, who does not play the ancient
Iranian sport. Paul Newman: Sensually I get. Director: Are you playing with
the sense of ancient Paul Newman?
Paul Newman: I play with an old feeling. Director: Play Paul
Newman. [He sits down and fists his arm.] Are
Wealth And
you giving him a massage?! Get up and play. Paul Newman: Play? I don't know how
he played. Director: So how do you know you look like
him? Paul Newman: I myself have not seen Paul Newman, my friends say.
Director: Now imagine you are a foreigner named Paul
Newman. Paul Newman: Foreigners mostly play westerns.
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Director: Play Western. Paul

slow
people fall to the ground from his shooting. The director Newman shoots and some

shoots from behind the table. Now, due to the conflict between him and Paul Newman, a group of

volunteers fall to the ground. Little by little, it becomes clear that the sound of shooting has come.
Slow motion is the sound of jazz coming from the mouth of one of the volunteers in May 9. The

director's conversation with a man who likes to play a negative role.

add? Director: What role would you like

Negative: Me?
Director: Yes.

a negative Negative Man: Usually

role. Director: Why the negative

role? Negative man: because of my physical face, which is more suitable for a negative

role. Director: Is the role more important to you or its positive

and negative aspects? The director's opinion is important. Negative man:

There is no difference between positive and

negative. Director:

Are you a negative person? Negative man: No. Director: Is it only your type that matters?

Shouldn't you show

your art by playing? Negative Man: Why? Director: Do you

think you are a bad person or a good

person? Negative man: I think I'm fine. Director: Then

why do they give you a negative role?

Negative man: This is the director's opinion. Director: If you were a director, what role

would you give

yourself? Negative man: Negative.

Director: Did you give a

negative?! Negative

man: Yes, negative. Director: Why? Negative man:

Because I like the negative role. Director:

Are you a bad

person? Negative man: No. Director: If you were the director, would you give me a positive

or negative role? Negative man: [Thinks.]

Negative. The director

laughs. 10. The director's conversation with two sixteen-year-old girls (Azadeh and Maryam) and
Faiz Hella and

his two children. Director: Stand inside that frame. How are you, Mr. Faiz Hella?
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Faiz Hella: I said that my words might hurt people. Director:

Ladies, come and stand in front of them. Are these your sons? Faiz Hella: Yes, this is Hamida,

this is Hamida. Director: Uncle, play and let's

see. Hamed: What game should we play?

Director: You play. [The children

are standing motionless.] Director: These are not playing, Mr. Faiz,

Hella. In my opinion, they rejected it. Anyone who can't play first is eliminated. Why do you want

them to be actors? Faiz Hella: They do theater and singing in school. Director:

When were they born? After the revolution? He used to come to

Malqatam prison before the revolution Faiz Halla: after the

That
revolution; He is my son
Was.

Director: How old are you? Azadeh:

sixteen years old.

Director: Did you come with your

parents? Azadeh: No,

unfortunately.

Director: Why? Azadeh:

We didn't know. Director: We cannot film you without your parents' permission, because you are under
the age of eighteen.

Azadeh: If you don't mind, you can call us for permission. Because we were not informed to come

with them. Director: You

play, let me see... [they can't] Rejected. Where was your father before the revolution? Hamed: In
political

prison. Director: Faiz Hella, what

are you doing? Faiz Hella: I will prove it.

Director: You were looking for

justice then, now you don't want justice and a party for your children. Do not observe the grace of

God: No. I want them to be artists. Director: Let me see

here. If you want justice, they will deny it. What's your

opinion? Faiz Hella: I want if the director: Look at the camera now and laugh. Now

Please do something for my children. May cry. Faiz Halla and Isa there. The
Faiz four of you start playing together. Faiz Hella is present: 1, 2, 3 Play the silent game

Hella. Do it... you play... Faiz Hella: [He plays.] I can't. I don't know what to do. I got tired. Director: From

what?
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Faiz Hella: From life. From this time from this child Director: What are

you? Hamed: [He plays.]

Which sheep? Famine is everywhere. Director: You. Hamid: [He plays.] Now, good man, know

that the king is the

head and the sword is wielded. I have a cold. Provide a fire, maybe also sheep. Director: You all rejected. You didn't

play the game I wanted. You came all this way from another city, then you play so

Azadeh: I don't cry when I'm sad, I just shake. loosely. Whoever cries earlier is more in love with cinema.

Director: Are you upset now? Azadeh: I am shaking. My hands are cold. My body is frozen. Director: I count to ten.

Tears came to everyone's eyes... Maryam: That's it. [He shows

his eyes.] Director: Who? let me see What are you crying for? Please accept me.

[Tears fall.] Director: So acting is so important

to you? Maryam: Very important. Director: Why? Maryam: I like this

work. Director: Is it so important to cry? Maryam: It is so important that I cry. Director: So cry and

say that I want to cry. Maryam: I want to play. [Crying] Director:

Face the camera. Maryam: I want to play. Director: the second person.

Who shed tears? I really like to play. It must be free: I Mariam:

don't cry. But one should not be weak and cry. I'm shaking now, but I

want to play. [He starts

crying.] Accept you, my

God. You are making me cry. I can't

anymore. I like to be in movies. How long should I wait?

Director: What are you waiting for? Azadeh: How

long should I wait until one day... Director: How old are you? Azadeh: Okay, I like it.

Director: You. Hallelujah

ÿ
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suffered all these May Faiz Hella: [makes a sound of crying.] I don't know. It wouldn't be bad if you could make a movie. We have

hardships
that time. andsay
I cannot humiliation, but we
that anyone have
in my come
party to beI accepted. Director: Faiz Hella didn't even cry under torture at
is free:

have absolutely no hope for anyone. I remember playing role playing behind our storage boxes since I was three

in the future to act in it. Where there is a wish, there is a or four years old. If no one will let me become an actor, I will make a film myself

way. I satisfied my parents by force. I would like to be accepted in the cinema. [Crying does not allow him to speak.] I can't anymore.

Director: You? Faiz Hella: Me too if I get a chance. You know, because in the prison during the torture, I also acted in theater to save the

prisoners from mental pressure. Director: You are telling the truth, but tell me that you were in prison for the sake of justice and did not ask

for anything because of your beliefs, are you ready to eat these rights now? Faiz Hella: No. Director: [Turning to Azadeh and Maryam]

Well, that gentleman gave

you his due. Faizulullah: Even if I am accepted, I am satisfied that this girl will become an actress. Director: What do you think? Azadeh:

Do you want me to give my right to this man?! Director: Would you like to be the winner of these five people or someone else?

Azadeh: I would like to vote.

Director: What do you think? Maryam: I would like to win myself. Director: You? Azadeh: Like this. Director: Who played well? Faiz Hella:

[laughing] I didn't understand. Because I was busy. Director: You see, the voting is inconclusive. Azadeh: Do you want me to

tell you the truth?

Director: Yes. Azadeh: Me and my friend. Director: yourself? Azadeh: Me and my friend. Director: You three

stand behind him. Faiz Halla, children, take care of yourself and go out the door. This is also a test. [Faiz Hella and

his children go. Don't go to Aad of these?

Azadeh and Maryam really hurt you. No, these are also without Maryam:

ÿ
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Azadeh: I leave 10% for my heart and 90% for art. What sin has the audience committed to suffer from their bad play? Director: Out of the two of

you, whoever thinks he is a loser should go. I count to ten, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Who will go? [facing Azadeh] You go. Is

Bring it back yourself. [Maryam leaves. He returns freely. Facing your friend going? He goes free. Facing Maryam [Dell Mi Maryam: No. Director:

Azadeh [Now, was it worth the heart of four people and you stay? Azadeh: No. But the same account is ten percent and ninety percent. I just want

to win. I don't think about myself. But if the audience does not enjoy this movie, then what is the

point of this

movie? If you think I don't play well, I have to go. It's true, I like the cinema and I go to it. I sleep at night for the love of this work. I dream of actresses

every night. Director: Kat. [Now Maryam and Azadeh are standing next to each other.] Which one do you

prefer between being an artist and being a forgiving human being? Azadeh: Of course, people love a generous person more. Director: If you

were to stay as an artist but go to be a human being, which one would you choose? Azadeh: Let me be human. Director: Are you going to be

human? Azadeh: Yes. Director: The decision is yours. Azadeh: I chose art because of humanity. Because I noticed that artists value even a

mosquito more than an ordinary person. Director: Are you going or staying? Azadeh: I will be really crushed if I leave art aside. Director: If you stay,

you will become an artist. If you go and forgive yourself, you will be more human, so are you. Azadeh: I would like to

be more human, but I will be crushed. You want to be human, go. If you want to be a director: choose. silence. If you are an artist, stay. Azadeh: We

are going. [And they leave.] Director: If you doubt, go back. Director:
ÿ
[In the ears of

Zainalzadeh] [Zinal. go don't let go 11. Director's conversation with Faiz Hella and her children return.

Hallelujah

ÿ
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Director: I talked to those two girls. I said, which do you prefer between art and humanity? Saying humanity. I said that I

myself have an emotional feeling towards Faiz Hella. Due to the fact that we were imprisoned together in the past and he

is one of the few resistance heroes under torture, I can't help but play a party for him. Those two girls gave their

Now he asked me to make his two sons actors And right to the three of you. Faiz Hella: Thank you.

Director: Which of you and your two children would you prefer to play the main role in the movie? Faiz Hella: I prefer these

two. So that they

don't complain later. Director:

Which one do you prefer my son? Hamid: I prefer my father. Director: Why? Hamid: Because he gives his right to both

ÿ
of us. Director: What are

you? Hamed: I forgive my father. Director: What should we do now? Faiz Hella: We are at your

disposal. Director: Those two girls were very fond of acting in the

cinema, but what do you think about them

after their roles? They

forgave you. Hass Faiz Halla: When they came out, we said

pray for us too. Finally, we

are also caught. I asked him to pray.

Because his cry was really from the

bottom of his heart. Director: Now does Faiz

Hella prefer her boys or those two girls? You have three time numbers. facing the door close your eyes Take a step away

from each other, they will stand facing the door and make eye

contact, and the children [may God bless them so that they are unaware of each other.] Whoever wants to play by himself

go. fall 1, 2, 3, and should stay, whoever wants to play his role should let those girls

Faiz Halla, we have forgiven you... Aren't you his children are leaving. [Faiz Halla, call the girls, your voice and say]

sad, are you going? Faiz Hella: No dear. Why should I be upset? 12. The conversation between the director and the

May director's two sixteen-year-old daughters: Come here soon. What do you think? Azadeh: I want to be both an

artist and a human being. He did this. Director: But you chose and left? [Maryam blushes with shame and

doesn't know what to do.] Azadeh: When I left, I thought, isn't it possible to be both an artist and a human being.

Maryam: May
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Maryam: It is necessary to be an artist...

Azadeh: ... to be a human being. I gave an example. An artist may see a mosquito more beautiful than an ordinary person. This

is humanity itself. I realized what I said when I went upstairs. Maryam: An artist who is not human... Azadeh: He is not an artist.

Director: Isn't it? Azadeh: No. Director: Then why

didn't you give your role? Maryam:

We said we will forgive.

Director: But

you came back! Maryam: Well... ah. [And his cheek turns red from

you really want shame.] Director: Do

to play now? Maryam: Very much. Azadeh: We like

it very much. Director: The whole half hour that you are here was recorded and it is in the film. You

Now you are an actor. Azadeh: Can I ask are the main actors of the movie.

you a question? Director: Yes. Azadeh:

If they tell you to leave cinema to be

do you feel about human, what would you do?... I'm really curious to know. Director: [He is silent for a while.] I asked, how

becoming an actor? Azadeh: I don't believe it. Director: Why not? Azadeh: I don't believe in happiness.

Director: But you really did. Now I want you to laugh with happiness.

Azadeh: I don't know if

I should laugh or cry? [He is in a state between laughing and crying.] Director: Do whatever you want. Azadeh: I want to go

and tell someone soon. Director: To whom?

Azadeh: To my grandfather. Because he really liked it. Director: Did you like it? [Azade nods.] Who do you want to tell? Maryam:

To my

father. Director: Say what? Maryam:

Let me say that I finally

achieved my dream.

ÿ
Machine Translated by Google

Director: Morsi. You run to the door and come back immediately. You run to your grandfather
and come back. You say to your father. Run, come back. [He is free until the end of the stairs:
Grandfather finally became an actor. In the movie Mr. Makhmalbaf. I don't know what to do with
happiness. I feel like crying and I want to laugh. Director: You.
Maryam: Dad,

do you remember the movie that was advertised in the newspaper? I was accepted
Now I am a movie actor. And

Director: You didn't play the last part well, you failed again. [Two girls fit together.] Do you believe
you were rejected? Azadeh: No. Director:
No?
Azadeh: I don't

believe it. Maryam: In

the end, did we become actresses or not?!
Director: What are you thinking?
Azadeh: I don't know... I think... I became an actress.
Director: Did you?
Azadeh: Well, I'm done. It was the summary of this role. An actor may play his role badly, but he
is an actor. Maryam: I think

so too. I became an actor. Director: Did you? Maryam:

Yes. Director: Which
actor did
you become? Azadeh: I don't know.
Maryam: I cannot
judge both of us. Director: Can you cry again? Azadeh: I don't
know. I didn't think I would cry that time.
Director: If you can cry, you are an artist. If you can't, it's clear
that I could, you can show yourself. If we take the game away from you. You should cry from now
on, otherwise, no. can you Because a male can cry any time he wants, even if he is happy, and
he can laugh any time, even if he is sad. Maryam: I think you want a lot of actors, so we can
be actors too. Director: But I want someone who will cry within ten seconds. Azadeh: Why
so strict?

Director: It is a cinema that has no mercy, my daughter. Either cry or die. Don't you count 1 or
2? It becomes
silent. After a few seconds [Maryam: May
Machine Translated by Google

You didn't cry, go. But you were human And Director: The artist is playing

with his emotions. Azadeh: Why should we go? Do you want to cry? Cinema is
the director's place:
because you can't sell it whenever there are people who sell their emotions every time they
because of our excitement. Director: buy. So you failed. Maryam: We can't cry too much
So how do you want to enter cinema? While if they tell
you to sign this contract and get money, you can't cry or laugh whenever we want. Can you
sell your feelings whenever you need to? Don't you know the merciless cinema? Didn't you
see how they almost broke each other's arms and legs to enter the door? To be famous, to be
rich. Can you cry whenever you want? Maryam: I don't know. Director: So you are not successful
in life either. Half of women's success is that they are compassionate whenever necessary,

otherwise they
can't even pull their own rugs out of the water. Cry to succeed. cry cry cry cry cry Cry
for this life that should be cried to be lived. Azadeh: I can't. I love art, but I can't cry. I was
able to a few moments ago. Director: But that was your real reaction, not your art. You were
impressed. He puts his most intimate feelings in the palm of his hand until the artist is
the one to sell. Laugh. cry. You are a real person, but you are not an artist. cry We come
crying,
leave the world crying. cry Either cry or leave. When we go to the world, they cry for us. In
the middle of it, we have to cry so much until we are washed away with our tears, we
become pale, we get out. Cry so I can see your art. so laugh Either cry or laugh. Azadeh: Shall
I laugh? Director: Crying or laughing? Azadeh: [He's out of his mind.] I want to laugh at this.
Don't I want to cry? Why should I cry? I am not weak. I don't cry. This time, he comes, he cries,
he dies because he laughs. They give birth to a child, why should they cry in the middle? I
want to laugh. Director: Laugh.
Azadeh:
Zamune should not make me

cry. It should make me laugh. I want to laugh. I laugh I laugh I will do well. Zamone should make
me laugh. I fight with him. I don't cry, I laugh. Director: Laugh.
Machine Translated by Google

Azadeh: I am laughing.
slow
And sometimes he laughs. [So why are you crying? who is crying, director:] Now it's
Maryam's turn to laugh. Now, if you laugh, you will accept. The pain is when you have to laugh,
He starts crying.
ÿ

accepted. He cries because Azadeh: One really laughs because he laughs in order to be
he was rejected. Why should it be like this? Why should he laugh at all? Why should you cry?
do
You are accepted. You can get your salary right now. Mr Director: Morsi. The

production manager, write a contract with them and pay fifty thousand tomans for this amount of games

I will give fifty thousand tomans to this one and to that one.
Azadeh: The artist is so worthless. They give him money and tell him to go?
Director: We just wanted you not to be denied.
till when? We will go,

Maryam: Director: Didn't you come to be an actor? You should get your salary now.
do Look at the taste:
I didn't come for money, I won't take it.
Director: So what did you come for?
Azadeh: To see such scenes. I wanted to see what kind of actor he is
No one in this world can do this.
Director: You entered the cinema, but when you entered the cinema, the doors were open
The rest don't close. Don't say, now the castle is mine. No one else comes.

Maryam: No. Since I was thirteen years old, I tried very hard and so did my parents
They were not satisfied at the time, so I went after this job alone. anywhere and
I tried everyone, but I didn't find anyone. So never do this about
I will not do another one. And I will not let him suffer so much.
Director: Now you have become the subject of our film. You were chosen from among five thousand people.

You allow me not to be the next movie and another one of those five thousand people in your place

play
Azadeh: I think everyone has the right to play.
and are standing next to the girls. And his children have also returned Now, director

Faiz Hella: All right, who wants to get hold of Calcutta?

Azadeh: It's better to leave it at that.

Director: So write on it, the end. You all acted in movies. place for
It was all yours. Cinema is not for a special few. If cinema is about life
that the light will reach Calcutta.
Say, there is room for everyone. Hold above my son's head so
Everyone smile and say how you feel?

Maryam: I am happy.
Machine Translated by Google

Azadeh: I am very happy. Hamed:

I am happy. Faiz Hella: I

am happy. Hamid: I am happy.

Director: Morsi. Bye. All

the group go out. Say goodbye to the camera. All the groups, including the cameraman, sound operator and director,

leave. One of the group:

Goodbye. Voiceover: I want to go back. A moment later, they all return with dozens of volunteers who were in the

yard. The recorder controls the

recorded sounds. Director: [To the volunteers who

Burmese have just entered the hall.] Sorry for the delay, several people had come to audition, their reactions were so good that

they

became the subject of our film. Please explain yourself. Maryam: Since I saved

the ad last week, unfortunately we could not come for the first day. Of course, fortunately, because it seemed to be very

crowded. We came today, at first they did not accept us, because we were sixteen years old and our parents were not with

us. When we were standing inside that frame, we were very excited. My whole body

is shaking. Director: What advice do you have for those who take the test? Azadeh: Don't be discouraged. The recorder

controls the sound of the tape recorder. Director: But when you enter the cinema, don't close the doors on others. They say

go, you will not become an actor, you will not be disappointed. Azadeh: Whatever you want. Director: Please, gentlemen,

stand up again. Should the ladies stay until these two ladies try them, let's see if the others will be accepted or not? Now you

are in my place

and you have to direct. Excuse me, ladies stay, gentlemen out. Please put a camera here.
ÿ
A group of

women stand in front of Azadeh and

Maryam. 12. Maryam and Azadeh's conversation with Azadeh's other girls :

Miss Bahare, which one are you? Bahare: I am. Azadeh: Why did you come here? Bahareh: Because I am

interested in art. Azadeh: What do you know about art?

Machine Translated by Google

Bahare: I have been interested in art since I was a child. I wanted to participate
in
art. Azadeh: Any art or just
acting? Bahareh: I like all arts.
Maryam: Then why did you choose
acting? Azadeh: You can go to other arts, you can become a
painter. Bahareh: I also
paint. Azadeh: So it doesn't matter to you what kind of art it is? Now if we
reject you and don't let you become an actor, how
would you feel?
Bahareh: I feel sad.
Maryam: Why are you upset? Azadeh: I tell you to go and become a painter,

because you are interested in all

arts, not just cinema. Bahare: I am also
interested
in acting. Azadeh: So do you like acting more?
Spring: Yes. Azadeh:
What will you do if I reject you?
Bahareh: I feel sad.
Azadeh: Show me your sadness. Maryam: Are you making me cry?
Azadeh: Cry. Another actor? cry for me
You cry too. Protesting
girl: I never cry. Azadeh: Why don't you cry? Protesting
girl: I don't cry at all because
of a role. Maryam: So you are not interested. Go
protesting girl: Is crying the reason for love?! Maryam: An artist laughs when
told to laugh, cries
when told to cry. Azadeh: You should cry. Protesting girl: An artist cries
when necessary. But if you reject me
now, I will be sad, but I will not cry. Azadeh: You are an actress
and I want to use your cry in the movie. Protesting
girl: The conditions must be right for a person to cry. Maryam: He is a
person in everyday life, it is different when you act in a movie. Protesting girl:
One has to make
one's inner feelings to cry, I don't
have any excitement right now. Azadeh: So you don't like cinema? Protesting girl: I
Machine Translated by Google

Maryam: You were rejected, cry because of this. Azadeh:

Look, you love acting and you came here for this love. Now I won't let you become an
actor. cry Maryam: You all rejected, who
do
is free to cry: How do you show your
discomfort? I did not see anyone sad and laughing. Protesting girl: I laugh when I get

nervous. Maryam: I'm serious, Redin. But I

don't see any sadness on anyone's face. Do you think I am joking? It's not a joke. Don't
cry, Redin. Azadeh: Who can play a role now? Play now. Second
girl: What should I play? Azadeh: You are ready. Protesting girl:
Do you mean that we play
theater? How did you
know that they study acting here?

Maryam: protesting girl: from

the newspaper. Aad prepared a piece for Maryam's performance: it was written in the

newspaper that everyone does it. I count If you cried, you accepted, if you didn't cry, you
refused, it's free: I
won't find you here until ten. Maryam: As an
artist who cannot cry... Azadeh: So
what does he want to do? Some people put their
hands to their faces to cry. Maryam: Don't hold
your hands in front of your face. Azadeh: Real crying. I will not let you become an actor. Put me as a taxi judge
who deserves to choose Face

Maryam: Why are you crying?!

ÿ

Girl: Do we have to cry? Maryam:

Whoever cried should stay, the rest should
go. Azadeh: You, you, you stay. The rest are

outside. Can I cry now? Girl: May Azadeh:

I will give you a chance for the last time.
Maryam: Ten more
seconds are free: whoever didn't cry, go. I am the director and I want you to cry.
Protesting girl: Ah dear lady! I can't cry now, what is this? Azadeh: You should cry in
the written script. Protesting girl: Oh, I have
to know about the topic of the movie to be emotional. Crying is not a joke.
Machine Translated by Google

fallen, cry Maryam: This is a sad text and an important event is

happening right now. Protesting girl: Oh, poor me, I have to read the
slow
And he goes back to the table script to cry later. The director makes Azadeh and

Maryam sit up from behind the table. 13. The director's

conversation with Maryam, Azadeh and other girls. Director: Very well, now you
two stand next to them again. In the cinema, if he has time to cry or laugh, the
actor should laugh at this preparation for the camera. He may even be sad,
but he has to laugh. Or be happy but have to cry. Because we don't have time to
feel like in the theater. We will see everything, you can cry and laugh at the cinema.
Now let's test and find out. You have twenty seconds.
At the moment, the protesting girl:
Are you crying tears or mime? Director: Everyone is ready anyway.
1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19. 20. One step forward. did you cry
All
They try to cry. Only the little girl cries. Azadeh and Maryam are standing
stunned.
didn't come out. Azadeh: I felt tears in my eyes, but they
Director: It's hard to ask a person to cry, isn't it?!
Azadeh:
Very much. Director: So how did you, like me, want them to cry with such
cruelty? [Azade is silent.]
Director: [facing Mariam] How do you feel?
Maryam: I'm
worried. Director:
Why? Maryam: Because I don't know, we will be accepted in
the end, won't
we? Director: You? Azadeh: I am sad and
anxious as before. Director: How did you
feel behind this table? Azadeh: At first I thought I couldn't do it, but when I started
I
saw that I could do it slowly. Director: Very well, come and take this collection.
stand together We collect the board in front of him. You should be seen by
everyone. You
sit next to me.
Write on the calculator. Maryam: What should I write? Director: Write continues.
Take it higher, higher.
Do you like to laugh or cry at the end of the movie? Protesting girl: It's better to laugh
Machine Translated by Google

Director: Kat.

Summer 1373
Machine Translated by Google

Mohsen Makhmalbaf

Close-

up realism is all realism. The

author believes that we collectively agree on the

words, world outside our minds, or in other

"reality". The external reality of existenceis an

eternal-eternal prism, and humans, because of

our smallness and the angle we are

trapped in, we can never fully understand

this prism. So we inevitably take an angle.

We generalize and remember the wrong

result, we know the same example of Phil

Molavi, and in the second we see the darkness

that all our eyes as observers run in this reality

and become a part of reality and each one of

us becomes universal. He builds and lives in it,

which is different from another world. A world

mind, but not as a reflection of reality on the

only as codes received through the senses,

and interpreted and interpreted in the mind,

which are mixed with the observer's gaze,

and for this reason, I do not believe that because

of the individuality that everyone has, one day Let

the image of the real world be the same in

front of even two people. So what is called

reality for all of us is the ghost of an implicit

agreement that we can communicate with each

other. Let's assume a reality called the

Russian Revolution. The Russian revolution is not

a reality that is basically one thing and group

so that some people agree with it. Those who

Gorky, agree with the Russian revolution, like

with reality
Machine Translated by Google

They are compatible with this reality

For those who disagree with it, like

George Errol and Tarkovsky and

Parajanov is fundamentally different. And

If this reality is the same in both minds

He had, perhaps May's reflection and definition

both agreed or disagreed with it

There was no difference. Is it a revolution now?

Russia has a surface reality, or one

And is this Reality is a prism, reality is

multi-faceted, everyone is welcome

slow,
A world in which he does not see life?

And is this look in the making?

Its reality does not interfere with this discussion

Next is me. I suspect more

Our accepted reality, the scope of the view

We are what we look at, until the reflection

our look Shariati to The reality over the mind

and quote from Andre Jide says: "Try to

Magnificence
And let there be beauty in your eyes, no

And Iqbal says: In what you see."

And "Seeing another student, hearing another student."

I say even if you don't try and

again Niamozi, greatness and beauty

Ugliness and humiliation are more in your eyes

In what you see. This is the reality

that we create our own reality.

I also think about the claim of realism

Something called pure realism is acceptable

Everyone, as a shoe-by-shoe photographer, ÿ

It absolutely cannot exist. One is because of the

personal world that everyone has

And this world in the world outside

slow it slow
interaction of He has observed the

May and thought, but in fact, it is a reproduction

Sometimes even a new creation, from And It is the

world that is not and we want it to be.

Machine Translated by Google

In art, from the events around us

happen, a special incident We choose

what happens. This is a kind of choice

Cut from reality. From a charter

In general, we choose a side and from

incident that One side of it, a cut and an

and liking According to our understanding

what
And it is worthy of our inner world. this

"Close-up" of the subject that Kiarostami in the movie

slow
Not the subject and He chooses "vegetables" over

another, that is, intrusion

reality. His way of looking at greens

He can make him a charlatan instead of a prisoner

Or be innocent, to be acquitted Let's make

him a hero and even make him a hero

justification let's make Both of us will find logic

and ourselves and we can

Prove it logically that we have believed

and for our pro-collective theory

Let's do it and believe in the volume of our logic fans

In addition to the reality before us,

let's find Now the reality of the greens in itself

And what is outside our mind? He is a charter

It can be studied that any result of

He can be reached. When we are in the cinema

We frame reality, that is

We will make a rectangular frame around it, right?

The reality is that it is a rectangle

May Do we see a rectangle? When we put a "trap"

slow
and lens that compresses reality, we put reality

or lens
slow
And
It deforms the front of the lens, where

else? The lines can be crossed by

realism, minus the intervention

Is there a personal us? art and

means choice, and An artist in general

And Choice is the choice of reality
Machine Translated by Google

Its choice distorts the whole of a phenomenon

slow
And the distorted reality, where does it go?

Can it be true? Suppose the discussion

the color If dressed as an actor

Let's cover him with white and sit him in the door

The white background of the wall, in his photo with

The white wall becomes one. while

Our eyes are out of the picture, according to

Memory, or greater aperture power

Our eyes to the camera, the perspective

Kind
and stuck him to the wall sense of water

does not take So where is realism?

what
Mai Tuanim Baik story Khas and Lenz

Wade, let's create greens in the field

His society should be resolved and become an example

and a handful of samples. And Statistical and general

Or let's separate it from reality and background

put it in the blur of the telephoto lens

Let it be a special example. Which one of these?

Is it realism? In both inevitably with

Color, lens, frame, size and type

story
And the type of game, we create a reality

Except for the reality that someone else creates and

The personal share of our choice is reserved

stayed Then according to the similarities that

The reality of our mind has pictures and movies with it.

We call it realism. Pre-realism

Each of us means what we believe

And in our art of reflection The truth is that the

world is found. But not what each of us from

We believe that the world sings together.

Not what is considered as the reality of the world And

let's show Each of us in his own world

slow
appreciates in his art He lives and

Power shows the same. But why not?

not us
We can in And
The reality is one, let's

live a reality, what in

Machine Translated by Google

And we do not accept the claims of our arts as reality and

the representation of reality, which is realism. Therefore,

Kiarostami should be considered a personal filmmaker, not a realist

filmmaker. Because no one can be called "close-up" more

than a realist in that sense, and proving the reality of Sabzian outside

of Kiarostami's mind shows Kiarostami's opinion about the external

reality of Sabzian. "Agrandisman", Antonioni in Milan Kundera's movie

in the book "The Burden of Existence" tries to show us the reality

and meaning that we attribute to the phenomena, rather than the fact

that they come from the phenomena themselves, they are our value

opinion. To them. The witness

And of the example is the value meaning of a photo, in three different

"
times in the novel "" which contradicts all the existence of it, all

reality. The reality is infinitely complex and surprising as soon as it

changes the angle and our place. and we take a look at it

again, we see a new manifestation of it that is as real as its previous

image. Even that our opinion about people and ideologies, philosophies,

finally any phenomenon or all of it Whatever the title of reality is, it

depends on where we stand in creation and from which angle we look

at this complex and many-sided prism. Therefore, in

most of the oppressed intellectuals who believe in any belief, there is a

We
and simplistic and shallow perspective, and if An incident in

creation changes their angle, their faith towards that belief

And
Machine Translated by Google

And
Belief changes. Have you ever asked yourself that, for example,

the religion of a Buddhist, his culture and his destiny were not chosen from the

moment a romantic accident placed him in his mother's womb? When the

geography statistics declare: 80% of the people of the country are Orthodox

Christians and 90% of the people of the country are of the Wahhabi religion,

for example, can you not think that the romantic hand of any incident

that happens in the same country will once again form a seed? 80% likely

to be orthodox and somewhere else 90% likely to be Wahhabi? If this is the

case, shouldn't it be expected that that Buddhist or this Wahhabi will see the reality

around him, influenced by the same vision that historical and geographical

destiny has imposed on him, and if he is an artist, he will show us the same

thing in the pursuit of showing the reality. Who thinks he is reality? So how can

we criticize the belief of different artists of the world about what they think is

realism with their realism? And what belongs to them should be considered

against the reality of existence, without placing our own realism in their

classification or denying the basis of realism due to the innumerable multiplicity

and variety of what is called realism. All of us, from the moment of birth to the

point of death, have been trapped by cultures, special traditions,

in less inextricable models, and throughout history, we have been conditioned

Discovery
and by the literature and culture of religions, nationalities,

and therefore our behavior towards

And
Machine Translated by Google

Action, from choosing any type of choice and religion, type of politics

and government and social relations to believing in any type of formed reality, is

conditioned. We have been chosen and our behaviors and appreciation

for the concept have alsoAnd

been chosen. More modern, it has conditioned

us. In most cases, the realities around us have chosen for us the reality that

we are supposed to believe, and our accepted realism is conditioned by

And
Conditions are in front of him, Pavlov's place is really empty to dig us deeper!

But really, how are these conditions put together to create the conditional

realism of each of us? Each of us was born without his permission. No one

they not asked us: has asked us: "Do you want to be born?" Or have

"Which world would you like to be born in? What thoughts would you like to
ÿ

have? And how and from which angle would you like to see and believe reality, and

what kind of behavior would you be affected by that belief?" In the same

way, we fell in the womb of our white-skinned mother, so we are white-

skinned. We fell in Iran or Angola, so we are Iranian or Angolan. And when

we want to get married, here it is not very customary to fall in love, so they

go to propose to us, and here it is not customary for our sisters to choose

someone, so they sit down to choose them. And when they chose

them, because their husband is Law or Qarti, which does not make a difference,

they are also in the way of the kitchen and the bed.

ÿÿ
Machine Translated by Google

Their wives are chosen according to their own size

They haven't, they are spending a lifetime.

Now let's assume that we fall into the door

The womb of a black woman, then the issue

it's
was opposed to apartheid, or May not important

In the womb of a white person in Africa

South, then we would be racist, and

Or in the womb of a Wahhabi woman and we would become one

A believer in Wahhabism and under the flag of Al

Saud dies in the usurped shrine of God

we hit But if from the womb of Gandhi's mother and in

The absolute conditions of his birth and growth

We used to be like him in our book

and suffering We wrote: "A cow was dying

He was dying because I couldn't bear his pain

Tolerate, I gave him an injection ampoule

to die more easily. And I know that

Hindus me because of all this cruelty

They will not forgive." Whereas, because in

That
We are not Gandhi's conditions, we have lived in

this life, except for the meat of millions of cows

who suffered during slaughter,

We have enjoyed and head We have made a living

and he cut some chickens for us The

done
chickens are full in front of us
We are and
Chicken without any emotion

We have eaten bread and have no conscience

Religion has not escaped us here either

And we all want each other

Is
forgive I bring these examples to show

Tenth, not only believing in facts, but believing

To many of the truths that humans have on the globe

Khaki believes in them, it depends

And
to the angle in which it stands, unfortunately,

because in choosing these angles,

He wasn't involved much, so he won't be anymore

Tuan was not kind and people who

Machine Translated by Google

They are not much involved in their fate and behavior,

he condemned or asked them why they live in a world other

than ours and why you call something realism, which we

do not call realism. The artist takes waves from the

world around him, and the waves are not necessarily subject

ÿ
to reality. It means that it is not an accurate picture

transmitted from reality to the artist's mind. It is enough for

him to be sad and the waves that inform him will give

a sadder report.

May

Nima says in a poem: "My house is a cloud, the

whole earth is a cloud with it." This expansion of a view

is much more real than a person who says: "The

sky is cloudy, so my house is also cloudy." We all live in

our personal world. It's as if we live in different planets

and our beliefs about reality are different, just like our

fingerprints. When the belief of each of us is carefully

analyzed, it will be a witness to the loneliness of each of us.

The loneliness I mean is the loneliness that the historical,

And environmental, geographical, genetic and a thousand

other reasons have created something different from each

of us and made us lonely. The uniqueness of each person

is his loneliness, and we know that the world of the

closest people is different from one another in a

thousand ways, and in two thousand other ways, and

the secret of loneliness goes back to such

factors. Say that Tuvan asked each claimant: "Are you?

And where do you stand in your creation? And what is

your mental state?"

Machine Translated by Google

what is your type What do you believe in?

have you done Or have they believed you? to say

How do you see your surroundings and

Which realism do you accept?"
Therefore, the claim of realism is accepted
Everyone, from everyone, as long as
In art, we choose our tools and
Human world, personal in every way
It is not acceptable and a compliment
Is
And the artistic production of each of us, even

My time is like a cash register

Let's be nature and society, generalize and expand

Our personal world outside the mind

what
We try to it And basically,

we have an implicit agreement about the reality with

We have to bring ourselves closer. "

Bersoni, including Kiarostami
Do to get close to See mi
And
In reality, choose a topic and show it very
non-emotionally.
Do that when a person Forgetting
comes to a place full of emotions
It is exciting, this is the same
And show it in the same way The real size is the
size of realism, which is the opposite of that. B
A local side of a world
It is personal. New if possible. And
You say "film". Except that
"ÿ
his personal share is reserved Kiarostami
Is. All these conflicting opinions in history
Philosophy, is it because some philosophers are bad?

It turns out that they did not want the truth

to see like others, or it goes back to
That in most cases each of them
And
the reality with all the honest efforts of the
tools at their disposal, i.e
They have proved and defined the species that he saw
Machine Translated by Google

are
And the faithful followers of each of them, to

They have a certain belief that their beliefs about

the reality they believe in are right. It's not that everyone

hasn't thought like us, has always loved unreality,

or has deviated from it. The world of philosophy

and common people is also a personal world,

we want another object, even when we become and

And
see everything like him, we will become another

object like ourselves, not his object. Refer to the

imitation of different people from one person and one

style, to see the individuality of each of them in the

same work copy. We are forcing the likes of

Sabzian to become someone else and be

recognized. It is our fault that he wants to be someone

else. I even remember during the filming of "Closeup",

there was a scene where he was supposed to

buy flowers. He went and chose the color yellow.

Kiarostami protested and told Sabzian: "Take that

rose", but he did not accept. But

Kiarostami finally forced him to choose another color. I

myself loved the color green since I was a child. Maybe

influenced by religion, but since I started

working in art, I have gradually come to believe that

blue is better than green. That is, I have surrendered

to that collective agreement about the best color in

the world of art, otherwise there is no such reality as

which color is better or worse, psychologically

or philosophically "in its absolute sense". Beauty

and betterness in most cases to ourselves

Machine Translated by Google

We attribute phenomena, and this same movement of

assimilation and expansion of collective agreement on

the truth and common reality is out of mind,

which makes the implementation of

democracy in eastern countries philosophically

problematic. (I don't mean the political case) If

we accept that everyone has a special world, but

we have a peaceful coexistence with each other and

only say how each one of us sees the reality and which

of them is the reason for which, then The first brick of

the building will be democracy, and otherwise the

political structure will be changed a thousand more

times when social transformation takes place in the third

world or in our own Iran.

And

Absolutism, democracy, like realism, is more

like a compliment on the block. "Socialist realism

"
in Italy and the East," neorealism in Latin America,
" "
magical realism tell that realism is not a single
"
phenomenon that is universally accepted. And when

it loses its original meaning, it was not like that,

which is "the conformity of the philosophical or

artistic mentality with the objectivity outside the mind

of the philosopher or artist". Because realism,

which is described with the suffix of other attributes, has

questioned its purity and universality. Now, it is better to

Hand
accept that in art, realism is a lie. It is a

more expressive personal work.

And

"
in conveying meaning
"

"
And
Machine Translated by Google

And seek the same from it; Because it is objective

Outside the world, with everyone's mentality

slow
method There is a match and no

Also until now for global unity and

This match has not been discovered.