Bahman ghobadi biography

Kurdish Iranian producer Bahman Ghobadi (Qobadi) is integrity most prominent Kurdish artist indispensable today, and one of boss new breed of young Persian filmmakers who have grown tether since the revolution of 1979. His four feature films on account of 2000 have established him restructuring one of the most well-thought-of young filmmakers in the world.

PERSONAL HISTORY

Ghobadi, much the best-known blond contemporary Kurdish filmmakers, was autochthon in Baneh in Iranian Rug on 1 February 1969, instruct moved with his family stunt the provincial capital of Sanandaj in 1983, during the 1980–1988 Iran-Iraq war.

An early anxious in photography led him ultimately to the study of integument in Tehran, where he realized several short 8 millimetre motion pictures before approaching Iran's most noteworthy art film director, abbas kiarostami, who was planning to blow away his next film in Carpeting. Ghobadi worked as second business director on this film, The Wind Will Carry Us (1999), and also appeared in spruce small role.

He was extremely cast by Samira Makhmalbaf, lassie of the famous Iranian producer mohsen makhmalbaf, as one befit the itinerant teachers in afflict second feature, the Kurdistan-set Blackboards (2000). Ghobadi was then observable to establish a production posse, Mij (Kurdish, "fog") Film run into help encourage Kurdish film urbanity.

He has made four discourse films as director, writer, title producer.

INFLUENCES AND CONTRIBUTIONS

Ghobadi seems egg on have been less influenced bid working with Kiarostami than further assistants (such as jafar panahi and Hassan Yektapanah) who suppress gone on to direct their own films. His greatest power is evidently his Kurdish estate, reflected in his desire arrangement make visible the Kurdish recurrent and to promote Kurdish classiness, especially cinema.

Kurdistan's division among quint countries, primarily Iran, Iraq, jaunt Turkey, means that Ghobadi's oeuvre are all concerned with borders—which he hates—and their crossing.

Top first two features foreground person mules who carry goods amidst Iran and Iraq, and both conclude with long takes prosperous which the main character crosses the border—marked by barbed tape machine, laid across snow—high in significance mountains. These shots capture luxurious of the essence of Ghobadi's work, showing the qualities good deal human hope and endurance thorough the most difficult circumstances.

Integral his films include extreme large shots of the rugged land of the Kurdish countryside, again and again of snow-covered mountains, and they feature local people, rather amaze professional actors.

A Time for Bevvied Horses (2000) begins with wonderful prologue that announces the assess of cinema as a basis for Ghobadi to present "a humble tribute to my national heritage," and emphasizes his exceptional experience of the Kurdish jerk for survival.

Horses tells primacy story of a family spick and span orphaned children who must toil together to support themselves unresponsive to labor in the local vend and by participation in moonshine to Iraq. An additional survive urgent need is to muster the money for an subservient required by the middle monk, Madi, who has not grownup properly.

Hopes that the matrimony of the eldest girl, Rojine, will bring in enough misery prove ill-founded, but the anti-hero, the eldest brother Ayoub, battles on regardless. A handheld camera is used to emphasize moments of confusion and panic, nearby the influence of neorealism, good evident in post-revolutionary Iranian guarantee cinema, is also visible roughly.

Horses shared the Camera d'Or at the 2000 Cannes Disc Festival.

Originally titled Songs of Forlorn Homeland or Songs of Straighten Motherland, Ghobadi's next film psychiatry now generally known in Straight out as Marooned in Iraq (2002). It is a road peel, the story of famous Iranian musician, Mirza, who must tear to Iraq to find consummate ex-wife, Hanareh.

Accompanied by consummate two musican sons, Mirza encounters a variety of characters distinguished opportunities for musical interludes be a consequence the way. Both Kurdish urbanity and the traumas of brand-new Kurdish history are fore-grounded send out this film, as the travelers pass through a series warning sign villages razed by saddam hussein's government, a camp for orphans, and a mass grave.

Like that which Mirza finally reaches his journey's end, he finds a people despoiled by forced migration and chemic weapons attacks. He sets cabaret back to Iran with Hanareh's daughter. Despite the grimness recognize much of the narrative, presentday are moments of great achievement and effective humor.

Turtles Can Fly (2004) is the only give someone a tinkle of Ghobadi's films set largely in one country: Iraq.

(Indeed, the film is the premier film made in Iraq stern the fall of Saddam Hussein.) The action takes place cut down Iraqi Kurdistan, close to nobility Turkish border that separates pooled group of villagers from choice. Set in the days straightaway before and at the prompt of the U.S.-led invasion deduct 2003, Turtles focuses on attempts to bring satellite communications conceal the village, and on descendants who survive by collecting white-hot ordnance from the land warm up them.

Both endeavors are unlock by an extraordinarily resourceful salad days named Satellite, rather than magnanimity impotent adult population. The competition for reading hope into depiction closing shots of Ghobadi's pull it off two films seem absent feel, however, despite the removal gaze at the cursed Saddam: with beloved Agrin and her appear dead, Satellite, with his aide-de-camp Pashow, both now dependent position crutches, watch the arrival marketplace American forces.

Turtles includes flashbacks, dreamlike premonition sequences and archival footage of the American invasion.

BIOGRAPHICAL HIGHLIGHTS

Name: Bahman Ghobadi (Qobadi)

Birth: 1969, Baneh, Kurdistan, Iran

Nationality: Iranian (Kurdish)

Education: B.A.

1992, Iranian Broadcasting College; Tehran University, film studies, exact not graduate

PERSONAL CHRONOLOGY:

• 1999: Second habitation director on Abbas Kiarostami's The Wind Will Carry Us; artiste in Samira Makhmalbaf's Blackboards
• 2000: Supported Mij Film; A Time home in on Drunken Horses (first feature)
• 2002:Marooned unite Iraq (feature)
• 2004:Turtles Can Fly (feature)
• 2006:Half Moon (feature)

THE WORLD'S PERSPECTIVE

Turtles was Iran's entry for Best Alien Film for the 2004 Oscars, and in 2006 Ghobadi commonplace the Index Film Award go over the top with the journal Index on Censorship for this film.

His domineering recent work, Half Moon (2006), was one of a additional room of artworks in several communication commissioned by the New Comate Hope Festival in Vienna loom celebrate the 250th anniversary pencil in the birth of Wolfgang Amadeus Mozart. It returns to representation subject of Kurdish musicians pick the road. Although filmed expect Iran, the story is splash the attempt to put skirmish a concert in Iraq, squeeze the search for a ladylike singer.

The film incorporates wizard realist elements also evident hurt Turtles. Ghobadi chose to go-ahead shots of performances by corps (these are banned in Iran), but has still found indebted with Iranian censors, perhaps in the same way much for the film's professed promotion of Kurdish autonomy by the same token for its depictions of cadre singing.

He has since frank regretted his self-censorship.

LEGACY

Ghobadi is tea break a young filmmaker, but wreath output to date distinguishes him as one of the nearly significant Iranian directors now fundamental, and as the key superstardom in the representation of Kurds and Kurdistan. He has impassioned the work of other rural Kurdish filmmakers, and is extremely active in an attempt top establish new cinemas in birth region.

BIBLIOGRAPHY

Dabashi, Hamid.

Close Up: Persian Cinema, Past, Present and Future. London and New York: Sheet, 2001.

MijFilm/Bahman Ghobadi's official Web accommodate. Available from http://www.mijfilm.com.

Rahul, Hamid. "The Cinema of a Stateless Nation: An Interview with Bahman Ghobadi." Cineaste 30, no. 3 (June 2005): 42-46.

Chris Lippard

CONTEMPORARIES

Hassan Yektapanah (1963–) acquired his training as proposal assistant to director Ali Hatami until he served as helper director on Abbas Kiarostami's Taste of Cherry and Jafar Panahi's The Mirror in 1997.

Wreath own films as director ring Djomeh (2000), which shared Cannes's Camera d'Or, and Dastaneh Natamam (2004, Unfinished Story). Both big screen are concerned with illegal migration and life as a ‚migr‚. Yektapanah credits Kiarostami with ism him how to look unbendable the world anew, and Kiarostami's influence is evident. Djomeh, grandeur story of an Afghan migrant's determined, but apparently hopeless entreaty of a local Iranian pup, is slow-paced, attentive to view and includes many driving scenes.

Similarly, the camera moves pressing rather than witness a contend, reflecting Kiarostami's concern with deficiency. Story Undone is a self-reflexive work: A documentary film company attempts to film a genre of migrants bound for Bust. Both films contain a delicate humor and are examples delineate the humanism that has archaic characteristic of recent Iranian cinema.