Art and Experience-Sogand Niazmand: The review session of movie “Bahman” with the directing of Morteza Farshbaf, was held on Sunday evening (Esfand 9th) with the presence of the director and Mohammad Reza Moqaddasian (critic), in Charsou Complex.

Mohammad Reza Moqaddasian mentioned the special kind of movie “Bahman” director’s look, at the beginning of his talk:” I saw this movie in Fajr Film Festival last year, and I didn’t have an opportunity to watch it again until today. “Bahman”, as Farshbaf’s second movie, is exactly of his first movie’s kind; called “Mourning”. The special kind of director’s look to cinema, type of sound and video, performances, the inner conflict of characters, his special method for script writing and characterization, etc. should be considered before facing the work.”

Farshbaf also explained about the idea of this movie end the concern that was the reason for making it: “After making “Mourning”, that unfortunately hasn’t had the chance to be released in Iran yet, but good things happened to it in foreign festivals and went to Sundance. There was a laboratory in Sundance that told me they would support   my screenplay. I had read a foreign short story, named “Snow”, that was the story of a woman waiting beside a window for her husband to come, in a snowy night. On the other hand, I was watching the relationship between my mother and my grandmother, who had returned to Iran from London, for spending her last days of life. Actually a compound of all these happenings led to writing a 40-page plot. I sent it to Sundance laboratory and it was accepted. The Sundance Festival’s assertion is supporting independent cinema, and we were 12 movie makers that our accepted plots were our first or second movies. I’m the first Iranian movie maker who could be accepted there. I was in USA for 6 months and I returned to Iran when it was time to make the movie. But maybe making it abroad was beneficial to the movie’s distribution, because our distribution companies are weak.”

Farshbaf, that according to Moqaddasian, his movies can be investigated in terms of the visual and narrative method of storytelling, went on to explain about the characterization of his movies and why his characters don’t have outer movements:”

“Of course there are less outer movements in movie “Bahman”. In my opinion, cinema can give this chance to movie maker to choose different ways for saying his words and expressing his emotions. In movie “Bahman”, I definitely wanted Mrs. Motamed-Arya to act this role, was an actress who can stretch the movie  for 90 minutes without being investigated in the matter of behaviour and sense by the audience. Because in my opinion,it is more believeable that each audience would be able to judge the story characters behaviourally, and we thought that the whole limitation of movie is on Homa’s character and i would like to look at my character in a dignified way so the audience would neither get far from it nor get so close to it. The distance was almost observed. I needed a face in movie Bahman which can stretch the story with tiny changes of lines,rather than saying dialogues. As a result, we needed a technical character who could act in a detailed way.”

Farshbaf, in response to Moqaddasian’s question about how much of the aspects of characters was written the screenplay, said:”Mrs. Motamed-Arya knows the cinema well and has been in Cannes Film Festival and always watches the movies up to date and her character had been written in Bahman’s screenplay to a great extent. We had a large chart with 90 sequences written in it and Nasim Marashi had written all the details in it one by one and all the time  in production we were thinking to arrange Homa’s tensions in away not too be forgotten for the audience, and we were careful not to bold some of these tensions too much. All of these is related to Midlife Crisis that is not related to cultural or social phenomenon, and is a universal phenomenon. These tensions have minor details which will be major for her.”

In another part of the session, Moqaddasian pointed to the risk Farshbaf took in facing the audience:” In the movie, befor ethe sequences that are obviously ientified in Midlife Crisis, we don’t know exactly what is the main concern of the character, we just see that she is so confused and disturbed and there’s the danger that we get suddenly angry like Homa’s husband and say: What is your reason? This needs a lot of courage and i think you took a great risk that you diid so. In the tendency of classic audience, you take something from him and you want him to see the movie with another view. What if the audience gets angry and doesn’t reach the last station? I think you had such a preparation. The movie was persecuted in festival in a way that it was shown in inappropriate hour and maybe there was a little injustice against the movie and the audience watching the movie wa snot in the hall with enough preparation.”

Farshbaf explained about the reason of slow progress of movie’s rhythm:” Because the energy of usual contributions isn’t gotten, audience thinks the story is not having progress while the reason of happenings can perhaps be understood visually. I was trying to supply the audience with my logic with tricks in some sequences but also in some parts, the audience should not search for cause and effect. Actually, art is a field, and I have problem with a straight and outspoken story.”

The director of “Bahman” explained about the psychological consultations about Midlife Crisis:” For applying this tension in movie, we studied not only the available psychological books, but also many personality patterns. Researchs were done and we extracted and studied the elements of such personality detail by detail.”

Moqaddasian emphasized at the end of the session that:” Movie “Bahman”is not a familiar sample in cinema and if you are looking for a simple movie, you may not be happy by watching “Bahman”. But if you are looking for discovery and curiosity in its real meaning, movie “Bahman”is considered a good sample in the cinema of Iran.”

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