Screenshot from Sex o phalsapheh/Sex & Philosophy (dir. Mohsen Makhmalbaf/2005)
Screenshot from The Blue Umbrella (dir. Saschka Unseld/2013)
Dacă tot a decretat cineva - foarte inspirat! - ziua de azi drept zi internaţională a umbrelelor rupte (de vânt), salut şi eu iniţiativa (ideea?) cu un post tematic. Ambele filme sunt nişte somptuoase splendori. Al doilea e un scurtmetraj de animaţie, dar nici că veţi observa asta. Iar dacă numele Makhmalbaf nu vă spune (încă) nimic, e numai vina voastră. Dar vă ajut (pun textul în engleză fiindcă mi-e lene să traduc):
„Born in Tehran in 1957 to a staunchly religious family, Mohsen Ostad Ali Makhmalbaf grew up in southern Tehran and spent his early childhood in the loving care of his maternal grandmother and aunt while his mother, divorced by his father, worked as a nurse. He grew up in a religiously and politically charged atmosphere in the 1960s and the June 1963 uprising of Ayatollah Khomeini constitutes one of his earliest memories. Chiefly responsible for his early politicization was his stepfather, a religiously devout and politically active supporter of Khomeini whom his mother married soon after Makhmalbaf was born. In 1972, Makhmalbaf formed his own urban guerrilla group and, in 1974, he attacked a police officer, was arrested and put in jail. There he remained until 1978, when the revolutionary wave led by Ayatollah Khomeini freed him and launched his literary and cinematic career.
Tobeh-ye Nasuh (Nasuh's Repentance, 1982), Este'zah (Seeking Refuge, 1983) and Do Cheshm-e Bisu (Two Sightless Eyes, 1983) were his first attempts at filmmaking. By the late 1980s, these early attempts begin to yield to more fruitful and mature engagements with cinema. Bycote (1985), Dastforush (The Peddler, 1986) and Bicycle-ran (The Cyclist, 1987) reflect a more serious awareness of the nature and function of cinema. With Nobat-e Asheghi (A Time for Love, 1990), Shab-ha-ye Zayandeh-rud (Zayandeh-Rud Nights, 1990), Nasered-din Shah, Actor-e Cinema (Once Upon a Time, Cinema, 1997) and Honarpisheh (The Actor, 1992), Makhmalbaf enters the most serious stage of his film career. A major contender along the earlier masters of the Iranian cinema, he could no longer be dismissed as a committed ideologue of the Islamic Republic. Cinema had transformed him. By the late 1990s, Makhmalbaf's global reputation as one of the finest filmmakers ever was indisputable. Salaam Cinema (1994), Nun va Goldun (A Moment of Innocence, 1995) and Gabbeh (1995) became the trademark of an Iranian cinema that was now the common staple of major film festivals all over the world.” (din Conversations with Mohsen Makhmalbaf de Hamid Dabashi, Seagull Books, 2010)
Şi tot de-acolo, despre crezul său artistic: „The heart of art is simplicity. I want to make ever more simple films, films that strip reality of all its superficial baggage. Why would I want to reach for even more cumbersome layers of unreality on top of what I'm trying to see and expose? It wouldn't make sense, would it? But as I said, I am not against Hollywood either. They do what they do and I do what I do.”
Rogu-vă, dară, să nu vă imaginaţi că Sex o phalsapheh ar conţine vreo scenă de profil...
„Born in Tehran in 1957 to a staunchly religious family, Mohsen Ostad Ali Makhmalbaf grew up in southern Tehran and spent his early childhood in the loving care of his maternal grandmother and aunt while his mother, divorced by his father, worked as a nurse. He grew up in a religiously and politically charged atmosphere in the 1960s and the June 1963 uprising of Ayatollah Khomeini constitutes one of his earliest memories. Chiefly responsible for his early politicization was his stepfather, a religiously devout and politically active supporter of Khomeini whom his mother married soon after Makhmalbaf was born. In 1972, Makhmalbaf formed his own urban guerrilla group and, in 1974, he attacked a police officer, was arrested and put in jail. There he remained until 1978, when the revolutionary wave led by Ayatollah Khomeini freed him and launched his literary and cinematic career.
Tobeh-ye Nasuh (Nasuh's Repentance, 1982), Este'zah (Seeking Refuge, 1983) and Do Cheshm-e Bisu (Two Sightless Eyes, 1983) were his first attempts at filmmaking. By the late 1980s, these early attempts begin to yield to more fruitful and mature engagements with cinema. Bycote (1985), Dastforush (The Peddler, 1986) and Bicycle-ran (The Cyclist, 1987) reflect a more serious awareness of the nature and function of cinema. With Nobat-e Asheghi (A Time for Love, 1990), Shab-ha-ye Zayandeh-rud (Zayandeh-Rud Nights, 1990), Nasered-din Shah, Actor-e Cinema (Once Upon a Time, Cinema, 1997) and Honarpisheh (The Actor, 1992), Makhmalbaf enters the most serious stage of his film career. A major contender along the earlier masters of the Iranian cinema, he could no longer be dismissed as a committed ideologue of the Islamic Republic. Cinema had transformed him. By the late 1990s, Makhmalbaf's global reputation as one of the finest filmmakers ever was indisputable. Salaam Cinema (1994), Nun va Goldun (A Moment of Innocence, 1995) and Gabbeh (1995) became the trademark of an Iranian cinema that was now the common staple of major film festivals all over the world.” (din Conversations with Mohsen Makhmalbaf de Hamid Dabashi, Seagull Books, 2010)
Şi tot de-acolo, despre crezul său artistic: „The heart of art is simplicity. I want to make ever more simple films, films that strip reality of all its superficial baggage. Why would I want to reach for even more cumbersome layers of unreality on top of what I'm trying to see and expose? It wouldn't make sense, would it? But as I said, I am not against Hollywood either. They do what they do and I do what I do.”
Rogu-vă, dară, să nu vă imaginaţi că Sex o phalsapheh ar conţine vreo scenă de profil...