The House is Black (Forough Farrokhzad, 1962)

The only film directed by Iranian poet Forough Farrokhzad before her premature death at the age of 32 is considered one of the greatest documentaries ever made. Set in a leper colony in northwest Iran, The House Is Black is a dialogue between the passions of the poet (Farrokhzad) and the voice of reason (Ebrahim Golestan, also the film's producer). It opens with a blank screen and then takes the viewer into the world on unwatchable but then in miracle of poetry ends on sublime when everything – even the unseen – is understood and accepted.

The Crown Jewels of Iran (Ebrahim Golestan, 1965) | MoMA

Ebrahim Golestan’s most visually dazzling documentary, The Crown Jewels of Iran  is ostensibly a showcase of the precious jewels housed in the treasury of the Central Bank of Iran, but in reality, it is a bold critique of the treachery of Persian kings. The film’s narration sharply contrasts with its imagery: vibrant shots of jewels in rotation are juxtaposed with Golestan’s voice, condemning the decadence of past rulers. Banned and never shown, the film's powerful message remained hidden for years.

Brick and Mirror (Ebrahim Golestan, 1964)

The cover of the original pressbook

Iranian cinema’s first true modern masterpiece, Brick and Mirror explores fear and responsibility in the wake of the CIA- and MI6-orchestrated 1953 coup. A Dostoyevskian tale of a Tehran cab driver’s search for the mother of an abandoned baby, it presents a harrowing image of a society rife with corrupted morals and widespread alienation. While rooted in a specific social context, its message resonates universally. The characters often speak without truly communicating, their soliloquies echoing unheard in the endless night they inhabit.

Earthly Songs: Ebrahim Golestan at 100 – A Viennale retrospective

 
This retrospective took place in Vienna, as part of the Viennale. RIP Ebrahim Golestan (1922-2023) – EK

Session#1: Fires of Forough

Fire-Fight at Ahvaz (1958) / A Fire (1961) / Courtship (1961) / The House Is Black (1962)

Total running time: 88 mins

A look at Golestan's oil documentaries, as well as examining his collaboration with poet and filmmaker Forough Farrokhzad. In 1958, an oil well in southwest Iran caught fire. Abolghassem Rezaie, the son of one of the pioneers of Iranian cinema, made Fire-Fight at Ahwaz about the disaster. When Golestan saw the black-and-white footage, for which he wrote the narration, he saw that the story held even greater potential and decided to produce his own version of the events – this time in colour. Golestan's version, A Fire, proved to be his first major international success. It was edited by Farrokhzad, who combined her poetic sensibilities with Golestan's more symbolic approach. Farrokhzad also acted in Courtship, a short made for Canadian television, in which Golestan demonstrates a marvellous ability with mise-en-scène, especially in his assured use of the camera. In the same year, Farrokhzad made The House Is Black, set in a leper colony in northwest Iran. Celebrated as one of the greatest films ever made, it is a dialogue between the passions of the poet (Farrokhzad) and the voice of reason (Golestan).

See You Friday, Robinson (Mitra Farahani, 2022)

 

RIP Ebrahim Golestan (1922 – 2023)

A long-distance dialogue between Ebrahim Golestan, a giant of Iranian cinema and literature (now only a few months shy of his 100th birthday) and Swiss-French filmmaker Jean-Luc Godard forms the basis of this latest film by Mitra Farahani. Among the most gifted documentarians from Iran, Farahani mediates between two seemingly irreconcilable worlds to create a unique epistolary work. Its elegant, hybrid style takes us from encounters with shadows – the first time we see each of these artists – to the inner lives of flesh and blood individuals; vulnerable, pained, caring, endlessly searching. 

Iranian Films at Il Cinema Ritrovato 2022

The Carriage Driver (Nosrat Karimi, 1971), shot by Houshang Baharlou (Chess of the Wind)

The forthcoming edition of Il Cinema Ritrovato (June 25-July 3, 2022) doesn't include an individual strand for Iranian cinema, however, it'll nonetheless feature at least five dazzling Iranian films, made between 1961 and 2022, shown across 3 different strands.

The documentary section will see the Italian premiere of À vendredi, Robinson (Mitra Farahani, 2022), a dialogue between Ebrahim Golestan, a giant of Iranian cinema and literature (now only a few months shy of his 100th birthday) and Swiss-French filmmaker Jean-Luc Godard. This is a truly beautiful work and should prepare you for what comes next.

A Fire (Yek Atash) by Ebrahim Golestan was premiered at Venice Film Festival in 1961. We screened it in 2016 when a retrospective was dedicated to Golestan's cinema of poetry and politics. Now we have updated the faded 35mm print previously shown with a 4K restoration of the film, presented for the first time in its original Persian voice-over, spoken by a famous voice artist, Asadollah Peyman. (The 2016 screening was from an English-dubbed version.) 

The Prose-Poetry Cinema of Ebrahim Golestan

"And the earth is a woman, with reveries and roots," says the Iranian filmmaker Ebrahim Golestan, narrating over the image of a 3,000-year old skeleton as it is unearthed, in his short documentary The Hills of Marlik (1964). This is where the heart of the filmmaker, who recently turned 100, lies: in the earth, to which he returns repeatedly in his films...

 

Read the full essay -- a tribute to Ebrahim Golestan -- in the March 2022 issue of Sight & Sound magazine.

The Crown Jewels of Iran (Ebrahim Golestan, 1965) | Notes on the film and its restoration

Ebrahim Golestan's 1965 short documentary, Ganjineha-ye Gohar [in English: The Crown Jewels of Iran], will be screened at International Film Festival Rotterdam 2021. This will mark the world premiere of the restored version and a new beginning for a film very difficult or even impossible to screen in a cinema for almost 55 years. Like its title, The Crown Jewels of Iran is a true jewel of Iranian cinema, though so far a buried one. 

Made for the Central Bank of Iran to celebrate the collection of precious jewels kept in the treasury, this film remains filmmaker Ebrahim Golestan's most visually dazzling work, embellished with terrific camera movements. 

Some of the most iconic landscape photography in the history of Iranian cinema can be found within a minute after the opening credits, in which peasants of various ethnicities and tribes are quickly reviewed, all posed in a graceful manner, like kings without being kings. Like a work of musical composition, a simple act of ploughing is spread across shots of various size and angle, creating an intimate visual symphony. And then appears one of Golestan's allegorical match-cuts: a farmer seen on the horizon before a cut to a diamond on a dark background – the farmer is the jewel. 

The Hills of Marlik (Ebrahim Golestan, 1963)

The Hills of Marlik 

The restored version of The Hills of Marlik played at Venice Classics 2019. Golestan passed away yesterday August 22, 2023. – EK



TAPPEHA-YE MARLIK [The Hills of Marlik]
Iran, 1963/1964, Director: Ebrahim Golestan

Alternative title: The Elements. Script.: Ebrahim Golestan. Director of photography: Soleiman Minassian. Editing: Ebrahim Golestan. Composer: Morteza Hannaneh. Voice-over.: Brian Spooner (English voice-over), Ebrahim Golestan (Farsi voice-over). Prod.: Golestan Film Studio [aka Golestan Film Unit]

A 3,000-year-old site in the north of Iran is simultaneously excavated by archaeologists and fertilized by farmers. Another example of Golestan’s documentary work about classical elements, in which the past touches the present, and there is a clear continuity among the forms of human life detected by the camera, as it breathes life into dead objects.

Brick and Mirror (Ebrahim Golestan, 1964)

https://cinearchitecture.tumblr.com/post/178081210882/tehran-in-brick-and-mirror-ebrahim-golestan

Il Cinema Ritrovato XXX

پياتزا ماجوره در شب با سه تا چهار هزار تماشاگر و چاپلين

يك آلبوم عكس: گلستان در بولونيا

همه عكس‌ها از لورنزو بورلاندو

«سينما، كشف از نو». اين ترجمه نام فستيوالي است كه در جشن تولد سي سالگي‌اش تبديل شده به نمونه‌اي براي ستايش سينماي ناب بدون اتلاف وقت روي فرش‌هاي قرمز و نشست‌هاي خبري يا مهماني‌ با كراوات سياه. اول از همه، بولونيا در هفته آخر ماه ژوئن گرمتر از آن است كه بشود زير آفتاب براي بيش از يك دقيقه دوام آورد. بعد هم با وجود اين كه ستاره‌ها – گيرم نه از نوع بازيگران، بلكه منتقدان و مورخان – در بولونيا اندك نيستند، اما 500 فيلم در دورۀ سي‌ام جايي براي خوش‌مشربي طولاني باقي نمي‌گذارد.

سالن تاريخي اپرا و تئاتر شهر بولونيا هم در طول فستيوال فيلم نمايش مي دهد

 

Brick and Mirror (Ebrahim Golestan, 1963-64)

Written for the catalogue of Il Cinema Ritrovato, published in June 2016. RIP Ebrahim Golestan (1922 – 2023)


KHESHT O AYENEH
Iran, 1963-64, Directed by: Ebrahim Golestan

International title.: Brick and Mirror. Alternative international title.: Mudbrick and Mirror. Screenplay.: Ebrahim Golestan. DoP.: Soleiman Minassian. Edit.: Ebrahim Golestan. Cast.: Zackaria Hashemi (Hashem), Taji Ahmadi (Taji), Jalal Moghadam (verbose man in the cafe), Masoud Faghih (pistachio-eating man in the cafe), Parviz Fannizadeh (gay man in the cafe), Manouchehr Farid (the policeman), Mohammad Ali Keshavarz (the mugged doctor), Jamshid Mashayekhi (policeman with broken arm), Mehri Mehrnia (the madwoman in the ruins), Pari Saberi (the nurse), Akbar Meshkin (the man in the court and on TV), Forough Farrokhzad (taxi passenger). Production.: Golestan Film Studio.

[The film is also known as The Brick and the Mirror which is clearly wrong as here brick and mirror are abstract concepts and the combination of them produces a different meaning, as in cat and mouse. Another incorrect way of calling the film is Khesht va ayeneh. Avoid both!]

World premiere: 1964
Iranian premiere: 1966

[The year of production given in filmographies and books, 1965, is not correct.]

***

Iranian cinema’s first true modern masterpiece, Brick and Mirror explores fear and responsibility in the aftermath of the Coup.

With its title alluding to a poem by Attar ("What the old can see in a mudbrick/youth can see in a mirror."), Golestan's first feature mixes dream and reality, responding to the changing climate of Iranian society, the failure of intellectuals and corruption in all walks of life. In a rare use of direct sound in the Iranian cinema of the 60s, with minute attention given to environmental sound (emphasised by the lack of score) which complements the claustrophobic use of widescreen.

Lezione di Cinema: Interviewing Ebrahim Golestan

Friends, colleagues, and fellow cinephiles from all around the world gathered in Bologna. The reason was Il Cinema Ritrovato, the 30th edition. I was there to witness Gian Luca Farinelli blowing the candles, celebrating three decades of cinephilia of the highest caliber, but also to show films by the godfather of Iranian modern cinema, Ebrahim Golestan.

Sala Scorsese, the cinema in which the Golestan Film Studio retrospective was held was packed for every single screening, with those who couldn't get a seat, standing on the aisles or sitting patiently on the floor. I was overwhelmed. Probably the 95 year old Golestan, too, even if he is a master in concealing his emotions when it comes to his films.

Brick and Mirror being screened at Sala Scorsese, June 27, 2016

Golestan Film Studio, Between Poetry and Politics

Introduction to the Golestan Film Studio tribute at Il Cinema Ritrovato, 2016. A selection of films either directed or produced by Ebrahim Golestan will be played during the festival with Mr. Golestan in attendance. Mehrnaz Saeed-Vafa and I will interview him on stage on June 28. All the screening and events at Sala Scorsese.


Golestan Film Studio, Between Poetry and Politics

Time to celebrate the first Iranian independent documentary film studio, which during its 10-year run managed to produce some of the most remarkable entries (both documentary and fiction) in the history of Iranian cinema. One man is responsible for this enterprise: the filmmaker, producer, writer and translator Ebrahim Golestan; a figure of special importance to Iranian culture, without whom the notion of an Iranian art cinema would have been an unlikely prospect.

If Golestan's literary oeuvre has been widely discussed, his contribution to cinema remains underrated and the films largely inaccessible. Upon their release, all were received negatively, even with hostility, by Iranian film critics. Though Brick and Mirror, a pioneering work of Iranian New Wave, came to be seen as a misunderstood masterpiece, the documentaries were left largely unseen.

Born in 1922 in Shiraz, Golestan began his encounters with the cinema at an early age, being taken to screenings by his newspaper-owner father. Initially he became a journalist, and joined the Communist Party of Iran, but, disillusioned with the Party’s treatment of the current affairs, retreated to literature. He wrote novels, and translated Ernest Hemingway and Mark Twain into Persian.

Chris Marker on Forough Farrokhzad

Forough Farrokhzad

The House Is Black (1962) will be screened next month as a part of Golestan Film Studio retrospective at Il Cinema Ritrovato. My good friend Rym Quartsi kindly took the time to translate this piece by Chris Marker from original French (first appeared on Cinéma 67, no. 117, June 1967, on the occasion of the death of Forough). Another friend, Laura Montero Plata, made a couple of editorial suggestions for which I should thank her as well.

***

Black, abrupt, ardent. These vague words make of her a portrait so precise that you will recognize her amongst thousands. February 13, at 4:30 PM, Forough Farrokhzad died in a car accident in Tehran. She was one of the greatest contemporary Persian poets, and she was also a filmmaker. She had directed The House Is Black, a short feature on the lepers, Grand Prix at Oberhausen, and beyond that practically unknown in Europe, and which is a masterpiece. She was thirty-three years old. She was equally made of magic and energy, she was the Queen of Sheba described by Stendhal. It was particularly the courage. She sought no alibis for herself, no pledges, she knew the horror of the world as well as the despair professionals, she felt the need to fight as well as the justice professionals, but she had not betrayed her deep chant.

Golestan Film Studio: A Retrospective (Il Cinema Ritrovato, 2016)

Ebrahim Golestan

Il Cinema Ritrovato, the cinephile's heaven and the festival of film history, held annually in the city of Bologna, Italy, will be hosting the first major European retrospective of Ebrahim Golestan, the godfather of Iranian modern cinema of the 1960s and 1970s.

I'm responsible for this programme, and in fact quite proud of it. Paying a proper tribute to a visionary director like Golestan feels drastically different (and also technically far more challenging) than putting together a retrospective of an established, canonical figure. Nonetheless, this programme, I hope, could reveal the origins of some of the most amdired trends and styles in Iranian cinema of the past 50 years, especially when it comes to the use of symbolism and poetry.

The Ebrahim Golestan retrospective is actually the celebration of his short-lived film studio, Studio Golestan. This also means that a superb print of The House Is Black (produced, co-written/narrated by Golestan) will be screened as a part of the retrospective.

In the opening credits of his films, Golestan usually calls his studio the Golestan Film Workshop. Frame enlargment from Brick and Mirror.

Days and Nights of Hunchback (June Festivals), Part III

از راست: حميد نفيسي، كريس فوجي‌وارا، ابراهيم گلستان، مانيا اكبري

يادداشت‌هايي پراكنده از چند فستيوال و چند گرايش در سينماي امروز – بخش سوم

شب‌ها و روزهاي قوزي

احسان خوش‌بخت

اسكاتلند، پايتخت موقت سينماي ايران

ساعت يك و نيم بعدظهر كه قطار به ادينبورو مي‌رسد، آفتاب به استقبال ما آمده است. مهرناز سعيدوفا هم در همين قطار است. او مهمان فستيوال است براي شركت در دو نشست دربارۀ سينماي پيش از انقلاب ايران. اسكاتلند در ماه ژوئن پايتخت موقت سينماي ايران شده است.

در لابي هتل ايپكس در گرس‌ماركت، مقابل جايي كه قبل از عصر روشنگري متهمان به جادوگري را آتش مي‌زدند، مرد سپيدمويي با ابروهاي پرشت به آرامي سوپ‌اش را مي‌خورد. اين ابراهيم گلستان است كه با همسرش بعدظهر آرامي را در ادينبورو مي‌گذارند، جايي كه قرار است خشت و آينه، گنجينه‌هاي گوهر، تپه‌هاي مارليك و خانه سياه است به عنوان بخشي از رتروسپكتيو سينماي ايران نمايش داده شود.

ابراهيم گلستان - عكس از احسان خوش‌بخت