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.

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。。

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.

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.

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。

Pukao和Kongkwan是儿时的朋友，自父母辈起两家一直很亲密。 但是十年前，Kongkwan的姐姐谋杀了Pukao的哥哥，毁了他们全家，也毁了他们的友情，他们的生活都变成了地狱。 Pukao不仅失去了哥哥，父亲也离开了他们母子，两家关系就此决裂，Kongkwan全家还被贴上了杀人家庭的标签，而她的姐姐则被判处重刑。 从那以后，Pukao就一直在报复Kongkwan，尽管她是无辜的，Pukao却一直指责她是凶手的妹妹。通过这样做，他与那些无法接受他对Kongkwan态度的朋友们渐行渐远，尤其是那些对他来说亲如兄弟的朋友，即使这意味着断绝他们的友谊。

釜（山）马（山）民主抗争（1979年10月16日-10月20日）40周年特辑docu+drama(纪录片+电视剧)

It took two years for Mehran Tamadon to persuade the four supporters of the Iranian regime to risk taking part in an experiment with him. Now he receives them as guests at his family’s country house to try out something that does not exist in Iran: a pluralistic society. As the women disappear into the guest rooms, the men discuss the advantages and disadvantages of a secular society, the veil, abortion, freedom of the press… The guests not merely outnumber the filmmaker, who is critical of the regime, but are also masters of rhetoric. Again and again, they twist his words and use them against him. His secular society, they argue, is just as ideological as their religious one. The mood is contentious, but there’s also a great deal of communal laughter, prayer and cooking. In the end, the attempt to create a social utopia fails as there are simply too many issues that are non-negotiable. But does that mean that the experiment itself has failed? After all, for a brief time, differing lifestyles and opinions managed to co-exist. A dialogue took place. For the filmmaker, however, there’ll be a high price to pay. (Berlinale 2014)

聚焦好莱坞明星夫妻乔安娜·伍德沃德和保罗·纽曼的人生、才华、爱情故事。