Every time our annual international film fest hits town, I scan all the offerings, with special attention to Iranian productions. I have seen so many fascinating films from a country that, in recent years, has banned Hollywood and other films foreign to them, and yet their filmmakers, despite having to follow strict guidelines and risking censorship at every turn, produce some of the finest films in world cinema. This documentary features interviews with several Iranian filmmakers, plus clips from a number of their best films. Among various aspects of Iranian film-making, they talk about how their reflective films differ from the Hollywood action variety, although there is such a role for Iranian film as well. What perhaps is really remarkable is how freely these producer/directors talk in a critical way about the censorship exercised in their country. The clever ways they get around it actually appear to challenge and enhance their creativity (as Duke Ellington once said, in describing how he had to compose his music to fit the talents and limitations of his band members, "It can be good to have limits"). Unusual scenarios between husbands and wives get around the rule that men and women, even when married, can't touch. Children are sometimes used to state in an allegorical or analogous fashion what could not be presented by adult characters. And the role of women is wondrously portrayed in these productions from a country that severely limits women's roles.

关于伊朗新浪潮电影一代的纪录片，法国ARTE出品DVD。 Today Iranian cinema is one of the most highly regarded national cinemas in the world, regularly winning festival awards and critical acclaim for films which combine remarkable artistry and social relevance. Iran: A Cinematographic Revolution traces the development of this film industry, which has always been closely intertwined with the country's tumultuous political history, from the decades-long reign of Reza Shah Pahlevi and his son, the rise of Khomeini and the birth of the Islamic Republic, the seizure by militants of the U.S. Embassy in Tehran, and the devastating war with Iraq.

《伊朗的相亲革命》：在伊朗，18至35岁人群中有超过半数的人仍然单身，这个伊斯兰国家正面临一场婚姻危机。《未报道的世界》首次深入伊朗，镜头对准当代伊朗年轻人的真实生活。在这里，宗教与世俗不断碰撞，那些遵从保守伊斯兰教义的人与追求自由浪漫恋爱的人，该如何实现两全呢？

马克马巴夫用异样的电影语言说出了伊朗电影电影近百年的历史，片中的一些镜头如散文诗一般优美，也有一些隐喻和象征，非常值得一看的伊朗艺术电影！　精彩的幻想片，只可惜DVD的画质一般。。

深入伊朗腹地，以记者和平民的证词记录2025-2026年的抗议活动以及近期与美国的冲突。

The international success of Iranian cinema over the years may have veiled the fact that its filmmakers work under harsh circumstances rarely seen elsewhere. This film explores Iranian censorship codes by analyzing dozens of clips from mainstream and art films. It features interviews with 12 Iranian filmmakers, including Jafar Panahi, Bahman Ghobadi, and Oscar-winning Asghar Farhadi. It also documents the brave efforts of those filmmakers whose independence has been punished by being banned from working, imprisonment, and forced exile.

1848年，捷克斯洛伐克人民不堪忍受奥地利帝国长期压迫和专制统治，在布拉格发动了一次武装起义。当时有两个政治集团，一个是真正代表人民利益的“列比里”，在斗争中勇敢、坚定。而另一个“市民会”害怕斗争，对反动统治政权存在幻想，终于动摇出卖革命。这次革命虽然没有成功，但却表现了捷克人民的英雄气概，从而被载入史册。

堪萨斯州(霍珀饰)是一位特技协调员，负责在秘鲁一个小村庄拍摄西部影片中的马匹。在一个演员在特技表演中丧生的场景中发生了一场悲剧之后，堪萨斯州决定退出电影行业，与一名当地妇女留在秘鲁。堪萨斯人认为他已经找到了天堂，但很快就被召来帮忙处理一件奇怪的事情:秘鲁原住民用木棍做的“摄像机”“拍摄”他们自己的电影，并表演真实的西方电影暴力，因为他们不懂电影造假。这部电影触及了虚构与现实的对立，尤其是在电影方面。这部电影以一种挑战观众传统电影叙事理解的方式呈现，以非时间顺序的方式呈现故事，包括一些通常只在电影制作场景后才能看到的设备(粗略的编辑和“场景缺失”卡片)，以及使用刺耳的跳跃剪辑。

A short Documentary containing an interview with Iranian director Abbas Kiarostami and following him as he returns to the village of Karaj to find Babak Ahmadpour, the small boy who 15 years ago inspired his film Where Is My Friend's House? - the first film in the now internationally renowned Koker trilogy.