Bahman ghobadi download

Bellucci, Italy's biggest female star and glamorous sex symbol, had to learn Persian Farsi for the role but is an accomplished multiligual and says that was no problem. The main thing for her was the opportunity to work with a fantastic director like Ghobadi -- in a highly deglamourized role with the emphasis on acting!

Unlike long established Iranian filmmakers Kiarostami 72 and Makhmalbaf 55 Ghobadi at 43 is barely known outside of Iran but two of his films, "Turtles Can Fly" and "Half Moon" won the top prize at the prestigious San Sebastian film festival in Spain.

Ghobadi is an ethnic Kurd and both of these films were in his original Kurdish language already a problem as there is a militant Kurdish separatist movement in Iran. His followup to that was the hastily made underground study of Iranian underground musicians "Nobody Knows About Persian Cats" Kasi az Gorbehaye Irani Khabar Nadareh which was awarded a special jury prize at Cannes but was considered seditious by the Religious Police that run Iran, resulting in Ghobadi's defection and self imposed exile.

Highly depressed because he could not go home and bouncing around Europe in Persian exile circles, he finally realized that he simply had to make another film "to stay alive".

The result is another Kurdish topic involving the unjust 30 year incarceration of a Kurdish poet and the ten year imprisonment of his wife Bellucci in Tehran in the wake of the Islamic takeover. Believing her husband to be dead she has moved to Turkey with the very man who instigated their imprisonment. He was once her driver and long in love with her as well.

When the Poet finally gets out twenty years later he goes to Istanbul to track her down The poet is played by Behruz Vosoughi who was the most popular actor in Iran before the Revolution and has himself been absent from the screen for thirty years --an ironic parallel -- because he left Iran just before the Islamic takeover and took up residence in the US, hoping eventually to get into American films, but was only offered terrorist roles which he refused to accept.

Bellucci's son in the film is played by pop singing international superstar Arash Labaf, who lives in Sweden but sings in Persian. Labaf who has a gigantic following in Eastern Europe and the Middle East had never been in a film before but is an old friend of director Ghobadi's.

When Ghobadi offered him the part he said he couldn't turn down a chance to have such a beautiful "mom" as Monica Bellucci! All cast principles except Yildiz appeared in Toronto for the World Premier and again a week later when Rhino was screened at San Sebastian, the one place in Europe where Ghobadi is no stranger. There Ghobadi met with American director Martin Scorcese who announced plans to collaborate with the exiled Kurdish director on his next project, a film about Kurdish Iranian relations.

In his Toronto press conference Ghobadi stated that he is not a political filmmaker and does not really have any interest in politics per-se but, when you make any film about Iranian society these days it inevitably takes on a political character.

The title itself comes from one of the poems of the imprisoned poet, recited during the film by Bellucci in Farsi. Reflecting the mood of the film a dead Rhinoceros on a dreamlike desert plain dominates the official film poster. Ghorbadi also said that he hopes his work outside of Iran will inspire young people in Iran to demand more freedom.

He is convinced that when the youth takes over there will be big changes. Barev Jan 4, Details Edit. Release date October 26, Turkey. Iraq Turkey Iran. Official site Official site Japan. Kurdish Persian Turkish English. Gergedan Mevsimi. Istanbul, Turkey. The last son who joins the team insists on speaking to Mamo in private. He explains to Mamo that the Wise man of the village has predicted that Mamo should not go on the trip because, as the full moon nears, something awful will happen to him.

Mamo persists on continuing his journey. He claims that he must continue his trip despite all the obstacles because he was not allowed to perform in Iraq for many years. Mamo intends to take Hesho, a female singer who lives with other women in exile, as part of his team. In Kurdish and Persian with English subtitles. Hanareh, a women singer, has gone to Kurdistan in Iraq. It is the story of a nation that has always been wandering. Being so used to war, they take it as a game and with their music they celebrate life.

As Mirza sets out to seek his rebellious ex-wife, Henareh, a belle who has captured the hearts of the people through her voice and her songs, we are introduced to the nuances and shades of the people of the region. Sunday August 17th Kurdish Iranian filmmaker Bahman Ghobadi grew up during the devastating Iran-Iraq War, which killed several of his relatives.

After starting out in photography, he began attracting attention in his twenties from his short documentary films about Kurdish life. And once again, according to my understanding, he has run into problems with the Iranian authorities, and Half Moon has been banned from distribution in Iran. In the past he has been forced to spend his own money to make a film and then attempt to recoup the expenses afterwards, mostly from overseas distribution. The absolute authority and dominance of the father characters in both Marooned in Iraq and Half Moon is emphasized, often to comedic effect.

The mystical aspects of this film sit rather uncomfortably along side the brutally real conditions faced by the Kurdish travellers and thus by the Kurdish people, in general. Throughout the film, Mamo has premonitions of his own death.

For example, he is told that a local wise man has foretold his imminent death on this journey, and he has visions of his own coffin being dragged by a woman this will turn out to be Niwemang. Numbers are use in the film with probably deeper meanings, but I am not sure about their precise symbolic significance, such as , for example, the seven months that Mamo has be been preparing for the concert. The number 14 is discussed several times concerning whether it is lucky or unlucky.

It must refer to the 14th day of the lunar month, which would be halfway through the month and therefore mark a Half Moon. Ghobadi works very carefully with his non-professional actors, and he always gets good performances. On this occasion, the acting was even better. Unlike his previous films, which were entirely staffed by non-professional actors, he did have two top professional actresses for this film.

Hedye Tehrani, a leading Iranian actress, played Hesho and also helped produce the film. Both of these women have the ability to convey great sensitivity and passion merely through their eyes and facial expressions. The magnificent Allah-Morad Rashtian, who plays Kako, is apparently a musician in real life, not a professional actor, but he had starred previously in Marooned in Iraq.

This marvellous performer is a unique cinematic personality — there is something brilliant about him — and his presence leaves a lasting impression.

I look forward to his appearance in future Ghobadi productions. Overall, the Kurdish music is the strongest and most moving aspect of the film, and I would have preferred to have more of it. A particularly strong example and the most stunning moment in the film is when Mamo retrieves Hesho from the village of women. This symbolic scene is a visual and musical master stroke — very contrived, but also stirring.