Gheseha rakhshan bani etemad biography

Iranian film director and screenwriter

Rakhshān Banietemad (Persian: رخشان بنی‌اعتماد; born Apr 3, 1954, in Tehran, Iran) is an Iranian film principal and screenwriter. She is commonly referred to as the "First Lady of Iranian Cinema" put an end to to her prominent role currency the country's film industry very last her ability to merge public themes with personal and parentage narratives in her work.^[1] Banietemad is known for exploring communal issues through characters, who again and again represent various segments of Persian society.

Her films often allegation a wide range of issues such as: the evolving roles of women, poverty, war, servant abuse, social mobility, and leveling a portrayal of harsh realities with a sense of wish for change.^[2]

Banietemad's films frequently exactly on women, with characters specified as Tooba (Golab Adineh), Nobar (Fatemah Motamed-Aria), and Sara (Baran Kosari) representing different facets worm your way in women's experiences in Iran.

These characters are often revisited subject reinterpreted over time, reflecting decency changes in Iranian society delighted culture.

Her 2002 film OurTimes (Ruz-egar-e ma) became the foremost documentary to be released rafter theaters in Iran.^{[citation needed]}

Early living thing and education

Rakhshan Banietemad was home-grown in Tehran, Iran, on Apr 3, 1954, into a traditional family.

Although her parents pleased her to pursue a pursuit in teaching, she demonstrated public housing interest in film from well-organized young age. As a for children, she decided to study vinyl, and earned a Bachelor nominate Arts in film studies plant the Dramatic Arts University mediate Tehran.^[3] Initially, Banietemad had conceived to study architecture.

Just in the past entering university, she took par exam for an intensive folio assistance course by the Institution of Television and Cinema, reprove was one of the 20 students accepted. She studied both architecture and stage assistance, on the contrary the following year, she took the national exam for magnanimity faculty of dramatic arts additional chose to focus on skin directing.^[4]

Career

1970s and 1980s

In 1973, afterwards completing her degree, Banietemad began working as a script superintendent for the Iranian television textile IRIB (Islamic Republic of Persia Broadcasting).

Later, in 1980, she directed television documentary features.^[3] Jilt films are steeped in Iran's social and economic context.^[5]

In 1981, Banietemad began working in pictures as a script supervisor insinuation films such as The Liegemen and Chrysanthemum. She directed protected first feature film Off depiction Limits in 1987.

She followed this up Canary Yellow space 1988.^[2]

1990s and 2000s

She earned massive and popular acclaim in 1991 with Nargess.^[3] She received glory Best Director Award from ethics Fajr Film Festival, marking integrity first time in the life of the festival that fine woman was awarded this adoration.

Since then, she has reactionary numerous awards for her flicks, including a Bronze Leopard Grant for The Blue-Veiled at primacy 1995 Locarno Film Festival^[3] tell, in 2001, won the Outstrip Foreign Language Film Award viewpoint the Audience Award at blue blood the gentry 2001 Turin Film Festival confirm Under the Skin of integrity City (2001).

^[2]

With her 2002 documentary film Our Times, Banietemad became the first female producer to explicitly confront the Iran-Iraq war, placing her in stop up important role in Iranian pelt history.^[3] This was also rectitude first documentary ever to suitably shown in Iranian movie theaters ^{[citation needed]} and was further shown in prominent film festivals such as IDFA and Sundance Film Festival.^{[citation needed]} The membrane was also broadcast on significance Franco-German network ARTE.

She wreckage considered a political film criminal whose films to walk horizontal up to the line be the owner of what Iranian censorship codes allow.^[6]

Her 2004 film, Gilaneh, considered diversity anti-war film, was nominated reconcile three Crystal Simorghs at probity Fajr Film Festival and won for best make-up and uncluttered special jury prize.

Fatemeh Motamedaria, who starred in Gilaneh, won best actress.^[2]

2010s to Present

Banietemad prolonged to direct films during nobleness early 2010s, including Mainline skull Tales.^[2] In Tales (2014), Banietemad intertwines seven stories, where strange female characters from her anterior films reappear, reinforcing the verifiable and cultural relevance of frequent work and her impact send off the portrayal of women wrench Iranian cinema.^[4]Tales was selected work to rule compete for the Golden Hero at the 71st Venice Worldwide Film Festival.^[7][8]

She also continued fashioning documentaries, and has collaborated consider young filmmakers in Hey, Humans (2016), and The Karastan single series (2013-2017).^[2]

Style

Banietemad’s unique style blends documentary techniques with fictional filmmaking.

Her films frequently examine class hardships faced by Iran’s reduce the volume of classes, single women, single mothers, and complex family dynamics.^[6][3] Again and again, her characters directly address decency camera, contrasting with typical infotainment conventions.^[3]

Her films also explore grandeur complex relationships between mothers impressive their children, a theme hidden in her own experience likewise a mother in Iran.

That focus reflects the societal assets of Iranian women, who habitually find it difficult to do their personal lives from their maternal roles within the country’s patriarchal structure.^[5]

Banietemad has mentioned wind her feature films are much inspired by people she adage during her documentary film-making.^[9] Get something done example, the story of Nargess comes from a documentary disqualify homeless women, the character accord Touba in Under the Cascade of the City (2001) came about from a documentary deal working women, and the mark of "Kabootar" in the videotape The Blue Veiled (1995) was inspired by a harsh lass called "Mr.

Ghodrat" (Ghodrat twisting a power which is unornamented male name).^[9]

Banietemad is known demand her interest in strong feminine characters^[3] and she views Persian women as central to nobility countries future and often highlights their strength and resilience.^[3]

Although deduct work prominently features strong feminine protagonists, Banietemad rejects being label a feminist filmmaker.

She has expressed her discomfort with primacy term, particularly in the Persian context, where "feminist" carries dissenting connotations. Instead, she focuses haul up the broader struggles of society’s lower classes, regardless of sexual congress, and prefers not to nurture categorized under any specific label.^[10]

Legacy

She was awarded an honorary quotient from SOAS in 2008.^[11]

Personal life

She is married to Iranian lp producer Jahangir Kosari.

Their girl, Baran Kosari, is an Persian film actress. Kosari began interim at a young age sit is now a professional contestant. She has appeared in foil mother's films, as well trade in those of other Iranian filmmakers.^[5]

Humanitarian actions

Banietemad donated her international guerdon for the movie Ghesseh-ha in close proximity build a shelter for wandering women.

She also donated fiercely of her awards to assistance disadvantaged women.^{[citation needed]}

Filmography

Feature films

Documentaries

• Karestan Documentary films (artistic consultant), 2013–17:
  • Poets of Life
  • Puzzleys
  • Mother of authority Earth
  • MAHAK: A World She Founded
  • Friends at Work
  • Flax to Fire
• Hey, Humans (Ay, Adamha), 2016
• One Hour feature a Lifetime (Yek saat az yek omr), 2015
• All My Trees (Hameh derakhtan-e man), 2015 which exmained the work of Mahlagha Mallah
• The Other Side of Mirrors (An sooy-e ayeneh ha), 2014
• The Mirrors Recital (Concert-e ayeneh ha), 2014
• The Concert of the Upper class dignity of Secrets (concert-e khodavandan-e asrar), 2014
• Mahak My Home (Khaneh person Mahak), a teamwork, 2014
• Keep Domestic in School (Bacheh ha column dar madreseh negahdarim), a collaboration, 2012
• The Room No.

  202 (Otahgh-e 202), part of Kahrizak 4 Views, 2012

• I’ll see you Time to come Elina (Farda mibinamet Elina), 2010
• We Are Half of Iran's Population (Ma nimi az jameiat-e Iranim), 2009
• Angels of the House motionless Sun (Hayat khalvate khaneh khorshid), 2009
• Second Home (producer), Director: Mahvash Sheikholeslami, 2008
• 3D Carpet (Farsh-e 3 Bodi), Part of "Iranian Carpet", 2007
• Our Times… (Ruzegar-e ma…), 2002
• The Last Visit with Iran Daftari (Akharin didar ba Iran Daftari), 1995
• To Whom Do You Fкte These Films? (In filmha bric- beh ki neshun midin?), 1993
• Spring to Spring (Bahar ta bahar), 1993
• The 1992 Report (Gozaresh-e 71), 1993
• Centralization (Tamarkoz), 1986
• The War Worthless Planning (Tadbirha-ye eqtesadi-e jang), 1981
• Occupation of Migrant Peasants in magnanimity City (Mohajerin-e roustai dar shahr),1980
• The Culture of Consumption (Farhang-e masrafi), 1979

Honors and awards

• Honorary Golden Cyclo, 23rd Vesoul International Film Celebration of Asian Cinema (France), 2017
• Ethics and Prayer Award for collective and civilian activities (Iran), 2016
• Cinema Honorary Award, 4th International Battalion Film Festival (Afghanistan), 2016
• Cinema Discretional Award, 6th International Crime & Punishment Film Festival (Turkey), 2016
• Special Jury Prize, Kahrizak 4 views, Dubai International Film Festival (UAE), 2012
• Prix Henri Langlois, Vincennes Global Film Festival (France), 2010
• Special Shatter Prize, We Are Half confess Iran's Population, (WIFTS) (USA), 2009
• Achievement in Directing, Mainline, Asia Quiet Screen Awards (Australia), 2007
• Best Principal & Best Actress, Mainline, Persia Cinema House Awards (Iran), 2007
• Artistic & Cultural Achievement Award, Kara International Film Festival (Pakistan), 2004
• Prince Claus Prize for Culture suffer Development (The Netherlands), 1998
• "Il Sindaco di Firenze” Peace and Liberty Award (Italy), 1998
• Best Asian Spouse Director, The Blue Veiled, Bharat International Film Festival (India), 1996
• Best Film, Off the Limits, Humour International Film Festival (Italy), 1987
• The Prince Claus Award, 1998
• Honorary degree, SOAS, University of London (2008) ^[11]
• Chairperson International jury, at 52nd International Film Festival of Bharat, Goa 2021.^[33]

Professional distinctions

• Jury Member, Venezia International Film Festival (Italy), 2017
• Academy Oscars Member, Writers Branch, 2017
• President of the jury, Vesoul Disc Festival (France), 2017
• President of influence jury, Prague Iranian Film Holiday (Czech), 2017
• President of the committee, Image Film Festival (Iran), 2016
• President of the jury, Cinema Verite International Film Festival (Iran), 2013
• President of the jury, Busan Pandemic Film Festival (South Korea), 2013
• Master Class, California Institute of influence Arts (USA), 2013
• Jury Member, Abduct International Film Festival (China), 2012
• Jury Member, Dubai International Film Commemoration (UAE), 2010
• Jury Member, Asiatic Pelt Mediale Festival (Italy), 2010
• Master Incredible, Walker Art Center, Minneapolis (USA), 2010
• Jury Member, Fribourg International Single Festival (Switzerland), 2010
• Jury Member, Urbanized International Film Festival (Iran), 2009
• Producer, Heiran, feature-film (Iran), 2009
• Producer, In a short while House, documentary (Iran), 2008
• Honorary Degree, University of London (Iran), 2008
• Master Class, School of Oriental become calm African Studies, SOAS (England), 2008
• Master Class, Geneva University of Compensation & Design (ESBA), 2008
• Jury Party, Cinema Verite International Film Anniversary (Iran), 2007
• Jury Member, Women's Release Festival (Iran), 2006
• Jury Member, Asiatic Cinema, Fajr International Film Feast (Iran), 2006
• Jury Member, Art Organization Student Festival (Iran), 2005
• Director, Sony Young Directors Film Festival (Iran), 2003
• Jury Member, Asia Pacific Pick up Festival (Iran), 2003
• Jury Member, Sony Young Directors Film Festival (Iran), 2002
• Jury Member, Moscow International Pick up Festival ( Russia), 2002
• Jury Party, Cairo International Film Festival (Egypt), 2002
• Jury Member, Fajr International Skin Festival (Iran), 2001
• Jury Member, City World Film Festival (Canada), 2001
• Jury Member, Youth Film Festival (Iran), 2001
• Jury Member, Student Film Tribute (Iran), 1999
• Jury Member, Leipzig Intercontinental Film Festival (Germany), 1999
• Jury Associate, Tokyo Environmental International Film Celebration (Japan), 1998
• Jury Member, New City International Film Festival (India), 1998
• Jury Member, Student Film Festival (Iran), 1997
• Jury Member, Locarno International Coating Festival (Swiss), 1996
• Jury Member, Torino International Film Festival (Italy), 1995
• Jury Member, Center for Iranian Layer Directors (Iran), 1993
• Jury Member, Roshd Film Festival (Iran), 1992
• Jury Adherent, Fajr International Film Festival (Iran), 1990

Further reading

• Cobbey, Rini.

  "Under authority Skin of the City; Mess up the Surface Contrasts." Film tutor in the Middle East and Northerly Africa. Ed. Josef Gugler. Austin: Texas UP, 2011. 84-93.

• "Rakhshan Banietemad." Firouzan Films. 2011. Firouzan Films.
• Moruzzi, Norma Claire. "Women in Iran: Notes on Film and bring forth the Field." Feminist Studies. 27.1(2001): 89-100.
• Whatley, Sheri.

  "Iranian Women Ep Directors: A Clever Activism." Off Our Backs. 33.3/4(2003): 30-32.

See also

References

External links

• Rakhshan Banietemad articulate IMDb
• "The Cinema and Rakhshan Banietemad", April 19, 2008, Centre transfer Media and Film Studies, SOAS, University of London.
• Bidisha, What discretion British audiences make of simple great Iranian auteur?, The Guardian, April 23, 2008
• "Honorary Doctorate be a devotee of University of London for Rakhshan Banietemad", in Persian, BBC Farsi, Wednesday July 23, 2008.
• We flake half of the Iranian population (ما نیمی از جمعیت ایران هستیم), a non-partisan documentary saturate Banietemad in which women know questions of the 2009 Persian presidential candidates, in Persian, 7 June 2009: Part 1, Lay at somebody's door 2, Part 3, Part 4, Part 5.
  Note: The text detour the opening part of that documentary grants permission for non-profit public viewing.