The Cinema of Iran, also known as the Cinema of Persia, refers to the cinema and film industries in Iran which produce a variety of commercial films annually. Iranian art films have garnered international fame and now enjoy a global following. Iranian films are usually written and spoken in the Persian language.
Behesht-e Zahra is the largest cemetery in Iran. Located in the southern part of metropolitan Tehran, it is connected to the city by Tehran Metro Line 1.
Khalil Vossoughi known professionally as Behrouz Vossoighi, is an Iranian actor. He has also worked in television, radio and theater. His work has earned him recognition at several international film festivals, including for Best Actor at the International Film Festival of India in 1974 and San Francisco International Film Festival in 2006.
Parviz Fannizadeh was an Iranian actor, film and television star. He was one of Iran's first method actors. Fanizadeh is best known for his roles as Mash Ghaasem in My Uncle Napoleon aka Daii jan Napelon and Hekmati in ِDownpour.
Masoud Kimiai is an Iranian director, screenwriter and producer.
Iranian New Wave refers to a movement in Iranian cinema. It started in 1964 with Hajir Darioush's second film Serpent's Skin, which was based on D.H. Lawrence's Lady Chatterley's Lover featuring Fakhri Khorvash and Jamshid Mashayekhi. Darioush's two important early social documentaries But Problems Arose in 1965, dealing with the cultural alienation of the Iranian youth, and Face 75, a critical look at the westernization of the rural culture, which was a prizewinner at the 1965 Berlin Film Festival, also contributed significantly to the establishment of the New Wave. In 1968, after the release of Shohare Ahoo Khanoom directed by Davoud Mollapour, The Cow directed by Dariush Mehrjui followed by Masoud Kimiai's Qeysar in 1969, Nasser Taqvai's Tranquility in the Presence of Others, and immediately followed by Bahram Beyzai's Downpour, the New Wave became well established as a prominent cultural, dynamic and intellectual trend. The Iranian viewer became discriminating, encouraging the new trend to prosper and develop.
Bahman Maghsoudlou is a film scholar, critic, author and independent film producer/director. Maghsoudlou has, in the words of Cinema Without Borders editor-in-chief Bijan Tehrani, "dedicated his life [to] recording valuable information about Iran’s contemporary art and culture."
Esfandiar Monfaredzadeh is an Iranian pioneer film composer, songwriter, and filmmaker. He is recognized for his contribution to film and pop music in Iran. His major works include Qeysar, Toughi, Dash Akol, Tangna, The Deers(Gavaznhā).
Bahman Mofid was an Iranian actor.
Pre-revolutionary Iranian cinema contains films and cinematic events made in Iran before Iranian revolution era. Hooshang Kavoosi, an Iranian film critic first used term Filmfarsi to point to Iranian popular films before revolution.
Varuzh Karim-Masihi is an Iranian-Armenian film director, film editor, and screenplay writer.
Irene Zazians, known mononymously as Irene, was an Iranian-Armenian actress of cinema and television. She worked with famous Iranian new wave directors both before and after the 1979 revolution, such as Samuel Khachikian, Amir Naderi, Nosrat Karimi, Masoud Kimiyayi, and Alireza Davood Nejad. Her two films after the revolution, The Red Line directed by Kimiyayi and The Reward by Davood Nejad, were banned.
Dash Akol (Persian: داش آکُل, romanized: Dāsh Ākol) is a 1971 Iranian drama film directed by Masoud Kimiai. It was adopted from a short story of the same name written by Sadegh Hedayat in his short story collection Three Drops of Blood.
Abbas Kiarostami: A Report is a 2013 documentary film about the Iranian filmmaker Abbas Kiarostami, produced and directed by Bahman Maghsoudlou. Out of the documentaries Maghsoudlou has made, this is the first of feature length.
Annik Shefrazian, known mononymously as Annik was an Iranian Armenian actress of film and television.
Enayatollah Bakhshi is an Iranian veteran actor. During six decades of artistic activity, he has appeared in more than 170 plays and considered one of the most well-known actors played the antihero role in the history of Iranian cinema. He is cooperated with some of the notable Iranian film directors, including Ebrahim Golestan, Bahram Beyzai, Ali Hatami, Amir Naderi, Masoud Kimiai, Dariush Mehrjoui and Davood Mirbagheri. He has received a First Grade Certificate in Art from the Ministry of Culture and Islamic Guidance of Iran.
