"A SEPARATION" MENINGKATKAN MERTABAT NEGARA IRAN
Dipetik daripada ruangan
GETARAN SENI Oleh Ku Seman Ku Hussain
Utusan Malaysia (9 Julai 2012)
Foto Dari Pelbagai Sumber
(Sumber: IranianFilmFes)
(Sumber: Yukibubulu)
SAYANG SEKALI TIDAK ADA SARIKATA BAHASA INGGERIS
"A SEPARATION" MENANG ANUGERAH (Sumber: Jeanroustan)
(Sumber: FirouzanFilms)
"CHILDREN OF HEAVEN" CALON ANUGERAH
(Sumber: Regimarcelom)
KEJAYAAN filem Iran hari ini adalah hasil Revolusi Islam 1979. Revolusi itu telah mengubah filem Iran dari sekular (macam filem kita sekarang) kepada filem yang memancarkan jatidiri bangsa.
Revolusi berjasa besar kepada filem Iran yang dijadikan ruang eskapisme pada era rejim Shah Iran.
Filem Iran seusia dengan filem kita yang bermula pada tahun-tahun 1930an. Tetapi banyak mempersoalkan kenapa perfileman kita tidak berubah daripada ejen meruntuh kepada membina masyarakat?
Dari segi statistik memanglah meningkat. Tetapi apalah maknanya statistik kalau filem kita tidak membawa pemikiran membina.
Tentulah tidak benar kalau dikatakan Revolusi Islam di bawah pimpinan Ayatollah Khomeini membunuh industri filem Iran.
Sebaliknya revolusi telah mengubah filem Iran dan hasilnya dibuktikan hari ini. Revolusi yang hanya digambarkan mengenakan peraturan sangat ketat sebenarnya tidak membunuh filem Iran.
Revolusi Islam telah menutup operasi lebih 180 panggung wayang kerana menayangkan filem yang menjadi ejen penyeleweng moral.
Pada awal revolusi, daripada 2,200 judul filem termasuk diimport, hanya 200 saja yang diluluskan untuk tayangan.
Kemudian kerajaan memperkenalkan filem berkonsep Islam dan anti-imperialis. Peraturan yang sangat ketat dan dikawal sepenuhnya oleh kerajaan. Tetapi ternyata peraturan yang ketat bukanlah faktor yang membunuh kebebasan berkarya.
Barangkali tidak ada syarat penapisan filem yang paling ketat dan sangat tegas selain Iran. Penglibatan wanita sebagai pelakon dibenarkan tetapi syaratnya sangat luar biasa. Antaranya tidak boleh mendedahkan rambut dan mesti memakai pakaian yang menutup aurat.
Sementara pelakon lelaki dan wanita termasuk yang melakonkan watak suami isteri tidak boleh bersentuhan waima berpegang tangan.
Kepada karyawan, sekatan itu membuatkan mereka mencari alternatif lain antaranya membuat filem mengenai sosial yang tidak melibatkan banyak pelakon wanita. Ketika filem kita berlumba-lumba “menjual tubuh pelakon wanita", Iran menghasilkan filem mengenai kanak-kanak dan persekitaran sosial.
Sejak revolusi masyarakat Iran telah diasuh dengan filem sosial. Iran tidak memerlukan filem sebagai ruang escapisme daripada realiti sosial seperti filem kita. Hari ini Iran mengeluarkan antara 60 hingga 70 filem setahun dan belanja sebuah filem hanya sekitar RM1.5 juta.
Belanja ini lebih murah berbanding filem kita. Tetapi filem mereka lebih hebat dan bertanggungjawab. Maknanya belanja besar tidak semestinya menjadi faktor filem yang baik.
Filem "A Separation" ("Perpisahan") yang memenangi kategori Filem Bahasa Asing Terbaik di Anugerah Oscar Akademi hanya menelan belanja RM1.5 juta sahaja.
Adalah memalukan apabila filem kita yang belanjanya lebih besar tetapi mempersembahkan pemikiran yang kontot tentang bangsanya sendiri.
Filem kita memerlukan revolusi pemikiran untuk berubah dan dihormati seperti filem Iran.
(Sumber: MsFilmTrailers)
(Sumber: VisoTrailers)
(Sumber: JohnKamal123)
(Sumber: Musicboxfilmsdistrib)
FILEM IRAN DAN ANUGERAH OSCAR AKADEMI
Oleh Mustafar A.R.___
Sejak bermulanya pemberian anugerah oscar akademi bagi kategori Best Foreign Language Film (Filem Bahasa Asing Terbaik) pada tahun 1947 (bermula dengan "Shoe Shine", Italy), buat pertama kalinya filem Iran dicalonkan di Anugerah Oscar Academi Ke-71 (1999).
Bagaimanapun, filem tersebut ("Children Of Heaven" arahan Majid Majidi) gagal memperolehi kejayaan apabila "Life Is Beautiful" (Italy) yang diarahkan oleh Roberto Benigni dipilih sebagai pemenang.
Selain "Children Of Heaven", "Life Is Beautiful" juga menewaskan filem Brazil, "Central Station" yang diarahkan oleh Walter Salles, "The Grandfather" (Jose Luis Garci, Spain) dan "Tango" (Carlos Saura, Argentina).
Selepas itu, Iran kemarau panjang apabila filem-filemnya tidak lagi dicalonkan merebut anugerah yang berprestij itu, sehinggalah pada tahun 2011 (Anugerah Oscar Akademi Ke-84) apabila filemnya "A Separation" dicalonkan.
Filem tersebut yang diarahkan oleh Asghar Farhadi bukan saja sekadar dicalonkan malah meraih kemenangan, mengalahkan filem musuh ketatnya, Israel ("Footnote" arahan Joseph Cedar), "Bullhead" (Michael R. Roskam, Belgium), "In Darkness" (Agnieszka Holland, Poland) dan "Monsieur Lazhar" (Philippe Falardeau, Canada).
Agak menarik, kejayaan Iran dan "A Separation"nya diluar jangkaan kerana ramai yang meramalkan Israel atau Poland atau pun Belgium akan menang, bukan Iran.
Ini kerana boleh dikatakan kesemua mereka yang mengendalikan Anugerah Oscar Akademi adalah dikalangan penganut Yahudi.
Rupa-rupanya, tidak. Filem tetap filem. Fahaman atau agama mereka tidak campuradukkan dengan karya seni (filem).
Iran merupakan di antara 24 negara di dunia pernah memenangi Anugerah Oscar Akademi kategori Filem Bahasa Asing Terbaik.
Negara-negara lain, Italy (13 kali), France (12), Spain (4), Japan (4), Sweden (3), Soviet Union (3), Denmark (3), Netherlands (3), Germany (2), Czechoslovakia (2), Argentina (2), Switzerland (2), Germany West (1), Hungary (1), Canada (1), Russia (1), Algeria (1), Czech Republic (1), Taiwan (1), Austria (1), South Africa (1), Bosnia & Herzegovina (1) dan Ivory Coast (1).
Persoalan yang timbul sekarang, Malaysia bila lagi?
Dalam Anugerah Oscar Akademi yang lalu, filem KRU "Merong Mahawangsa" turut dikemukakan untuk ditempatkan dalam senarai 63 negara yang dipilih untuk 5 pencalonan.
Bagaimanapun dan agak memalukan, di antara pemilihan tersebut, Malaysia terkeluar tetapi jiran-jirannya, Singapura, Indonesia, Philippine dan Thailand, masuk ke dalam senarai 63 negara.
Singapura dengan filemnya "Tatsumi" yang diarahkan oleh Eric Khoo, Thailand "Khon Khon" (Sarunyu Wongkarchang), Philippine "The Woman In The Septic Tank" (Marlon Rivera) dan Indonesia "Under Protection Of Ka'abah" ("Di Bawah Lindungan Ka'abah," Hanny Saputra).
Ini jelas memperlihatkan, betapa ketinggalan keretapinya Malaysia di arena filem antarabangsa, dan Finas serta juga produser-produser filem Malaysia harus mengambil perhatian serius tentang perkara ini.
DI BAWAH LIDUNGAN KA'ABAH, Indonesia (Masuk)
KHON KHON, Thailand (Masuk)
MERONG MAHAWANGSA, Malaysia (Keluar)
THE WOMAN IN SEPTIC TANK, Filipina (Masuk)
TATSUMI, Singapura (Masuk)
CATATAN WIKIPEDIA (BAHASA INGGERIS)___
Release
The film premiered on 9 February 2011 at the 29th. Fajr International Film Festival in Tehran. Six days later it played in Competition at the 61st. Berlin International Film Festival.
Asghar Farhadi had previously competed at the festival's 2009 edition with "About Elly", for which he had received the Silver Bear for Best Director. "A Separation" will be distributed in Iran through Filmiran. Distribution rights for the United Kingdom were acquired by Artificial Eye.
Box Office
As of June 10, 2012, "A Separation" has grossed $7,095,624 in US, along with $15,678,903 in other territories, for a worldwide total of $22,774,527.
Critical Reception
The film has been met with universal acclaim from film critics, currently holding a 99% "fresh" rating on Rotten Tomatoes, based on 139 reviews and an average rating of 8.9/10, as well as a score of 95 on Metacritic based on 45 reviews, making it the best-reviewed film of 2011.
Deborah Young of The Hollywood Reporter wrote from the Berlinale:
"Just when it seemed impossible for Iranian filmmakers to express themselves meaningfully outside the bounds of censorship, Asghar Farhadi's "Nader and Simin, A Separation" comes along to prove the contrary.
"Apparently simple on a narrative level yet morally, psychologically and socially complex, it succeeds in bringing Iranian society into focus for in a way few other films have done."
Deborah Young noted how Asghar Farhadi portrayed Iran's social and religious divisions, and complimented the film's craft:
"As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.
"All five main actors stand out sharply in Mahmoud Kalari's intimate cinematography.
"Though the film lasts over two hours, Hayedeh Safiyari's fast-moving editing keeps the action tensely involving from start to finish."
In a strongly positive review from Screen Daily, Lee Marshall wrote:
"Showing a control of investigative pacing that recalls classic Hitchcock and a feel for ethical nuance that is all his own, Asghar Farhadi has hit upon a story that is not only about men and women, children and parents, justice and religion in today’s Iran, but that raises complex and globally relevant questions of responsibility, of the subjectivity and contingency of ‘telling the truth’, and of how thin the line can be between inflexibility and pride – especially of the male variety – and selfishness and tyranny."
Alissa Simon from Variety called it Asghar Farhadi's strongest work yet and described it:
"Tense and narratively complex, formally dense and morally challenging... The provocative plot casts a revealing light on contempo Iranian society, taking on issues of gender, class, justice and honor as a secular middle-class family in the midst of upheaval winds up in conflict with an impoverished religious one."
David Thomson for The New Republic wrote:
"You cannot watch the film without feeling kinship with the characters and admitting their decency as well as their mistakes. The American films made this year that deal with the internal detail and difficulty of family life – like The Descendants — are airy, pretty and affluent compared with "A Separation".
"With the best will in the world, George Clooney cannot discard his aura of stardom, yet the actors in the Iranian film seem caught in their characters’ traps."
It Won The Top Award
The film won the Fajr Film Festival's Crystal Simorghs for Best Director, Best Screenplay, Best Cinematographer and Best Sound Recorder. It also received the Audience Favourite Film award. It won the top award, the Golden Bear for Best Film, at the Berlinale Film Festival.
The actress ensemble received the Silver Bear for Best Actress, and the actor ensemble the Silver Bear for Best Actor. In addition it received the Competition Prize of the Ecumenical Jury and the Berliner Morgenpost Readers' Prize.
Isabella Rossellini, the Jury president of the Berlinale Festival, said that the choice of Asghar Farhadi's film for the Golden Bear was "pretty unanimous."
Asghar Farhadi commented that he never would have thought he would win the Golden Bear, and that the film's victory offered "a very good opportunity to think of the people of my country, the country I grew up in, the country where I learned my stories – a great people".
Ahmad Miralaii, the director of Iran's Farabi Cinematic Foundation, said that "Iranian cinema is proud of the awards", as he welcomed Asghar Farhadi at the airport upon the director's return from Berlin.
"A Separation" was voted the second best film of 2011 in the annual Sight & Sound critic poll, as well as in the L.A. Weekly Film Poll 2011. The film was also voted No.3 in the annual indieWire critic survey for 2011, No.4 in the 2011 poll by Film Comment, and was ranked No.5 on Paste Magazine's 50 Best Movies of 2011.
Roger Ebert ranked the film No.1 on his The Best Films of 2011 list and wrote: "A Separation" will become one of those enduring masterpieces watched decades from now".
10 AKTRES IRAN PALING JELITA___
1. LEILA HATAMI
LEILA HATAMI DALAM FILEM "GARDEN SALAD" (2005)
(Sumber: PersianMovies)
2. ELNAZ SHAKERDOOST
3. HANIE TAVASSOLI
4. ELNAZ HABIBI
5. SHABANAM GHOLIKHANI
6. AFSAANE PAKRO
7. LEILA ZARE
8. MAHCHEHREH KHALILI
9. YEKTA NASER
10. SAHAR GHOREYSHI
APA KATA ASGHAR FARHADI (BAHASA INGGERIS)___
ASGHAR FARHADI
Why does the film resonate so much with everyone who sees it, all over the world?
"I don't know exactly why but I can venture a guess: This is in a way a detective story, but the detective is actually the audience. We've seen many detective movies where the language is not realistic, in a way we're seeing a combo of a detective movie and a drama - a hybrid of the two."
He added: "I don't think that local films can't also be universal; they can be both. If you tell a local story very precisely and accurate, it can become quite universal."
Doesn't the film open audiences up to the world of Iran?
"There's an image of Iran that's not correct. I don't mean to say there are no issues or problems - there are. But the type of problems you often imagine are not the ones there. Western audiences might go into this movie with a preconceived notion. For them, it might be strange than Iranians have such layered, complicated issues.
"But I think people all over the world are quite similar. People all over the world have quite complicated issues. The problem is we look through the people of the county through the prism of politics. If you see the people you see how similar we are." The response to his film all over the world has been that "we are very similar."
He's said it many times, but it's worth saying again: "Similarities between people and their cultures, throughout the world, are far greater than their differences, but its better for the interest of politics to highlight the differences."
Asghar Farhadi's goal was not to make a film to help foreign audiences better understand Iran:
"No movie can claim to have a complete view of a country. How could I possibly say that my movie is an image of 70 million people - this would be belittling people.
"He and his fellow Iranian filmmakers don't like to have all their issues brought up or to receive sympathy:
"When you see my movie, assume that I made it under the best possible circumstances. That doesn't mean that I condone the difficult situations in Iran, but I don't want to be a beggar on the street who exposes his wounds just to get sympathy for it.
"Nobody forced me to become a filmmaker under those circumstances, I chose to do so, knowing those circumstances, we Iranian filmmakers don't like to be treated like 'wow, they created…' Just watch our movies."
As for the purported difficulties of bringing films to foreign audiences with language barriers:
"Sometimes it's a good thing to not understand the language, you get down to the real stuff." Farhadi worked in theater for years before becoming a filmmaker. His process is still very theatrical. "We do the type of exercises that if anyone were to see us they'd think we were bizarre."
"He had "A Separation"'s actors do method-like preparation before production began. For months ahead of time you work with actors, it's not like sitting around a table reading a script together."
TRIVIA "A SEPARATION"___
* Tajuk asal "A Separation", "Jodaeiye Nader Az Simin".
* Mula ditayangkan di Festival Filem Antarabangsa Fajr di Tehran pada 9 Februari 2011, kemudian di Festival Filem Antarabangsa Berlin pada 15 Februari 2011.
* Budget (lebih kurang) $US800,000, dan pendapatan kasar setakat 17 Jun 2012, $US7,098,492.
* Keseluruhan penggambaran dilakukan di Tehran, Iran.
* Taglines: "Lies may lead to truth" ("Bohong mungkin membawa kebenaran").
* Menyertai 44 festival filem dan penganugerahan filem antarabangsa.
* Asghar Farhadi (pertama kali dari Iran) dicalonkan merebut anugerah Lakonlayar Original Tebaik (Anugerah Oscar Akademi ke-84), tetapi gagal apabila Woody Allen memenanginya kerana "Midnight In Paris".
* Di Festival Filem Antarabangsa Fajr Iran (2011), memenangi 7 anugerah - Filem Terbaik, Arahan (Asghar Farhadi), Sinematografi (Mahmoud Kalari), Lakonlayar (Asghar Farhadi), Rakaman Suara (Mahmoud Samabakbashi), Pelakon Pembantu Lelaki (Shahab Hosseini) dan Pelakon Pembantu Wanita (Sareh Bayat).
* Filem Iran pertama menerima pencalonan kategori Foreign Language Film Award di British Academy Of Film And Television Arts (BAFTA) 2012, tetapi digagalkan oleh "The Skin I Live In" (Pedro Almodovar) dari Spain.
* Pertama kali Iran memenangi anugerah The Golden Globe (2012) kategori Foreign Language Film, menewaskan "In The Land Of Blood And Honey" (USA), "The Skin I Live In" (Spain), "The Kid And The Bike" (French/Belgium) dan "The Flower Of War" (China).
# Update akan dilakukan dari masa ke masa.
ANDA MUNGKIN JUGA MEMINATI___
FILEM KLASIK MALAYSIA
berapa banyakkah yang masih ada?
ROH MEMBELA (1955)
kekuatannya special effect dan aziz sattar
CHEMBURU (1953)
banyaknya pelukan rosnani dan yusof latiff
PONTIANAK (1957)
mencapai kejayaan box office luar jangkaan
MUTIARA DARI MALAYA (1955)
teknik fotografinya sangat menarik
LAIN JALAN KA-SHORGA (1968)
apa, berdosakah aini?
SELENDANG DELIMA (1958)
kejelitaan maria menado dieksploitasi sepenuhnya
KONSEP PENERBITANNYA HARUS DIPUJI
Setelah diamati buku setebal 355 muka surat ini, kesimpulannya konsep penerbitannya harus dipuji kerana ia berlainan sekali dari apa yang pernah disajikan sebelum ini. Dilihat pula dari segi kesungguhan kedua-dua insan (Datuk Aziz Sattar dan Mustafar A.R.) yang pernah mengenali P. Ramlee, banyak betul perkara yang boleh kita ambil iktibar, dan 20 tahun bukan masa yang sedikit untuk mereka menyiapkan buku yang cukup bermutu ini. Memang benar karya peninggalan Seniman Agung Tan Sri P.Ramlee tiada bandingan dan sumbangannya dalam bidang seni terus abadi dan terpahat dalam minda semua lapisan masyarakat, namun di sebalik kehebatannya, buku ini yang turut menyelitkan gambar-gambar dari filem, sinopsis, ulasan dan pengalaman kedua penulis ketika pembikinan 66 filem P. Ramlee, ada memaparkan kisah menarik antaranya bagaimana P.Ramlee menceduk idea dari filem-filem luar untuk disesuaikan dengan filem-filem arahannya - KAKAK TUA.
GETARAN SENI Oleh Ku Seman Ku Hussain
Utusan Malaysia (9 Julai 2012)
Foto Dari Pelbagai Sumber
(Sumber: IranianFilmFes)
(Sumber: Yukibubulu)
SAYANG SEKALI TIDAK ADA SARIKATA BAHASA INGGERIS
"A SEPARATION" MENANG ANUGERAH (Sumber: Jeanroustan)
(Sumber: FirouzanFilms)
"CHILDREN OF HEAVEN" CALON ANUGERAH
(Sumber: Regimarcelom)
KEJAYAAN filem Iran hari ini adalah hasil Revolusi Islam 1979. Revolusi itu telah mengubah filem Iran dari sekular (macam filem kita sekarang) kepada filem yang memancarkan jatidiri bangsa.
Revolusi berjasa besar kepada filem Iran yang dijadikan ruang eskapisme pada era rejim Shah Iran.
Filem Iran seusia dengan filem kita yang bermula pada tahun-tahun 1930an. Tetapi banyak mempersoalkan kenapa perfileman kita tidak berubah daripada ejen meruntuh kepada membina masyarakat?
Dari segi statistik memanglah meningkat. Tetapi apalah maknanya statistik kalau filem kita tidak membawa pemikiran membina.
Tentulah tidak benar kalau dikatakan Revolusi Islam di bawah pimpinan Ayatollah Khomeini membunuh industri filem Iran.
Sebaliknya revolusi telah mengubah filem Iran dan hasilnya dibuktikan hari ini. Revolusi yang hanya digambarkan mengenakan peraturan sangat ketat sebenarnya tidak membunuh filem Iran.
Revolusi Islam telah menutup operasi lebih 180 panggung wayang kerana menayangkan filem yang menjadi ejen penyeleweng moral.
Pada awal revolusi, daripada 2,200 judul filem termasuk diimport, hanya 200 saja yang diluluskan untuk tayangan.
Kemudian kerajaan memperkenalkan filem berkonsep Islam dan anti-imperialis. Peraturan yang sangat ketat dan dikawal sepenuhnya oleh kerajaan. Tetapi ternyata peraturan yang ketat bukanlah faktor yang membunuh kebebasan berkarya.
Barangkali tidak ada syarat penapisan filem yang paling ketat dan sangat tegas selain Iran. Penglibatan wanita sebagai pelakon dibenarkan tetapi syaratnya sangat luar biasa. Antaranya tidak boleh mendedahkan rambut dan mesti memakai pakaian yang menutup aurat.
Sementara pelakon lelaki dan wanita termasuk yang melakonkan watak suami isteri tidak boleh bersentuhan waima berpegang tangan.
Kepada karyawan, sekatan itu membuatkan mereka mencari alternatif lain antaranya membuat filem mengenai sosial yang tidak melibatkan banyak pelakon wanita. Ketika filem kita berlumba-lumba “menjual tubuh pelakon wanita", Iran menghasilkan filem mengenai kanak-kanak dan persekitaran sosial.
Sejak revolusi masyarakat Iran telah diasuh dengan filem sosial. Iran tidak memerlukan filem sebagai ruang escapisme daripada realiti sosial seperti filem kita. Hari ini Iran mengeluarkan antara 60 hingga 70 filem setahun dan belanja sebuah filem hanya sekitar RM1.5 juta.
Belanja ini lebih murah berbanding filem kita. Tetapi filem mereka lebih hebat dan bertanggungjawab. Maknanya belanja besar tidak semestinya menjadi faktor filem yang baik.
Filem "A Separation" ("Perpisahan") yang memenangi kategori Filem Bahasa Asing Terbaik di Anugerah Oscar Akademi hanya menelan belanja RM1.5 juta sahaja.
Adalah memalukan apabila filem kita yang belanjanya lebih besar tetapi mempersembahkan pemikiran yang kontot tentang bangsanya sendiri.
Filem kita memerlukan revolusi pemikiran untuk berubah dan dihormati seperti filem Iran.
(Sumber: MsFilmTrailers)
(Sumber: VisoTrailers)
(Sumber: JohnKamal123)
(Sumber: Musicboxfilmsdistrib)
FILEM IRAN DAN ANUGERAH OSCAR AKADEMI
Oleh Mustafar A.R.___
Sejak bermulanya pemberian anugerah oscar akademi bagi kategori Best Foreign Language Film (Filem Bahasa Asing Terbaik) pada tahun 1947 (bermula dengan "Shoe Shine", Italy), buat pertama kalinya filem Iran dicalonkan di Anugerah Oscar Academi Ke-71 (1999).
Bagaimanapun, filem tersebut ("Children Of Heaven" arahan Majid Majidi) gagal memperolehi kejayaan apabila "Life Is Beautiful" (Italy) yang diarahkan oleh Roberto Benigni dipilih sebagai pemenang.
Selain "Children Of Heaven", "Life Is Beautiful" juga menewaskan filem Brazil, "Central Station" yang diarahkan oleh Walter Salles, "The Grandfather" (Jose Luis Garci, Spain) dan "Tango" (Carlos Saura, Argentina).
Selepas itu, Iran kemarau panjang apabila filem-filemnya tidak lagi dicalonkan merebut anugerah yang berprestij itu, sehinggalah pada tahun 2011 (Anugerah Oscar Akademi Ke-84) apabila filemnya "A Separation" dicalonkan.
Filem tersebut yang diarahkan oleh Asghar Farhadi bukan saja sekadar dicalonkan malah meraih kemenangan, mengalahkan filem musuh ketatnya, Israel ("Footnote" arahan Joseph Cedar), "Bullhead" (Michael R. Roskam, Belgium), "In Darkness" (Agnieszka Holland, Poland) dan "Monsieur Lazhar" (Philippe Falardeau, Canada).
Agak menarik, kejayaan Iran dan "A Separation"nya diluar jangkaan kerana ramai yang meramalkan Israel atau Poland atau pun Belgium akan menang, bukan Iran.
Ini kerana boleh dikatakan kesemua mereka yang mengendalikan Anugerah Oscar Akademi adalah dikalangan penganut Yahudi.
Rupa-rupanya, tidak. Filem tetap filem. Fahaman atau agama mereka tidak campuradukkan dengan karya seni (filem).
Iran merupakan di antara 24 negara di dunia pernah memenangi Anugerah Oscar Akademi kategori Filem Bahasa Asing Terbaik.
Negara-negara lain, Italy (13 kali), France (12), Spain (4), Japan (4), Sweden (3), Soviet Union (3), Denmark (3), Netherlands (3), Germany (2), Czechoslovakia (2), Argentina (2), Switzerland (2), Germany West (1), Hungary (1), Canada (1), Russia (1), Algeria (1), Czech Republic (1), Taiwan (1), Austria (1), South Africa (1), Bosnia & Herzegovina (1) dan Ivory Coast (1).
Persoalan yang timbul sekarang, Malaysia bila lagi?
Dalam Anugerah Oscar Akademi yang lalu, filem KRU "Merong Mahawangsa" turut dikemukakan untuk ditempatkan dalam senarai 63 negara yang dipilih untuk 5 pencalonan.
Bagaimanapun dan agak memalukan, di antara pemilihan tersebut, Malaysia terkeluar tetapi jiran-jirannya, Singapura, Indonesia, Philippine dan Thailand, masuk ke dalam senarai 63 negara.
Singapura dengan filemnya "Tatsumi" yang diarahkan oleh Eric Khoo, Thailand "Khon Khon" (Sarunyu Wongkarchang), Philippine "The Woman In The Septic Tank" (Marlon Rivera) dan Indonesia "Under Protection Of Ka'abah" ("Di Bawah Lindungan Ka'abah," Hanny Saputra).
Ini jelas memperlihatkan, betapa ketinggalan keretapinya Malaysia di arena filem antarabangsa, dan Finas serta juga produser-produser filem Malaysia harus mengambil perhatian serius tentang perkara ini.
CATATAN WIKIPEDIA (BAHASA INGGERIS)___
Release
The film premiered on 9 February 2011 at the 29th. Fajr International Film Festival in Tehran. Six days later it played in Competition at the 61st. Berlin International Film Festival.
Asghar Farhadi had previously competed at the festival's 2009 edition with "About Elly", for which he had received the Silver Bear for Best Director. "A Separation" will be distributed in Iran through Filmiran. Distribution rights for the United Kingdom were acquired by Artificial Eye.
Box Office
As of June 10, 2012, "A Separation" has grossed $7,095,624 in US, along with $15,678,903 in other territories, for a worldwide total of $22,774,527.
Critical Reception
The film has been met with universal acclaim from film critics, currently holding a 99% "fresh" rating on Rotten Tomatoes, based on 139 reviews and an average rating of 8.9/10, as well as a score of 95 on Metacritic based on 45 reviews, making it the best-reviewed film of 2011.
Deborah Young of The Hollywood Reporter wrote from the Berlinale:
"Just when it seemed impossible for Iranian filmmakers to express themselves meaningfully outside the bounds of censorship, Asghar Farhadi's "Nader and Simin, A Separation" comes along to prove the contrary.
"Apparently simple on a narrative level yet morally, psychologically and socially complex, it succeeds in bringing Iranian society into focus for in a way few other films have done."
Deborah Young noted how Asghar Farhadi portrayed Iran's social and religious divisions, and complimented the film's craft:
"As in all the director's work, the cast is given top consideration and their realistic acting results in unusual depth of characterization.
"All five main actors stand out sharply in Mahmoud Kalari's intimate cinematography.
"Though the film lasts over two hours, Hayedeh Safiyari's fast-moving editing keeps the action tensely involving from start to finish."
In a strongly positive review from Screen Daily, Lee Marshall wrote:
"Showing a control of investigative pacing that recalls classic Hitchcock and a feel for ethical nuance that is all his own, Asghar Farhadi has hit upon a story that is not only about men and women, children and parents, justice and religion in today’s Iran, but that raises complex and globally relevant questions of responsibility, of the subjectivity and contingency of ‘telling the truth’, and of how thin the line can be between inflexibility and pride – especially of the male variety – and selfishness and tyranny."
Alissa Simon from Variety called it Asghar Farhadi's strongest work yet and described it:
"Tense and narratively complex, formally dense and morally challenging... The provocative plot casts a revealing light on contempo Iranian society, taking on issues of gender, class, justice and honor as a secular middle-class family in the midst of upheaval winds up in conflict with an impoverished religious one."
David Thomson for The New Republic wrote:
"You cannot watch the film without feeling kinship with the characters and admitting their decency as well as their mistakes. The American films made this year that deal with the internal detail and difficulty of family life – like The Descendants — are airy, pretty and affluent compared with "A Separation".
"With the best will in the world, George Clooney cannot discard his aura of stardom, yet the actors in the Iranian film seem caught in their characters’ traps."
It Won The Top Award
The film won the Fajr Film Festival's Crystal Simorghs for Best Director, Best Screenplay, Best Cinematographer and Best Sound Recorder. It also received the Audience Favourite Film award. It won the top award, the Golden Bear for Best Film, at the Berlinale Film Festival.
The actress ensemble received the Silver Bear for Best Actress, and the actor ensemble the Silver Bear for Best Actor. In addition it received the Competition Prize of the Ecumenical Jury and the Berliner Morgenpost Readers' Prize.
Isabella Rossellini, the Jury president of the Berlinale Festival, said that the choice of Asghar Farhadi's film for the Golden Bear was "pretty unanimous."
Asghar Farhadi commented that he never would have thought he would win the Golden Bear, and that the film's victory offered "a very good opportunity to think of the people of my country, the country I grew up in, the country where I learned my stories – a great people".
Ahmad Miralaii, the director of Iran's Farabi Cinematic Foundation, said that "Iranian cinema is proud of the awards", as he welcomed Asghar Farhadi at the airport upon the director's return from Berlin.
"A Separation" was voted the second best film of 2011 in the annual Sight & Sound critic poll, as well as in the L.A. Weekly Film Poll 2011. The film was also voted No.3 in the annual indieWire critic survey for 2011, No.4 in the 2011 poll by Film Comment, and was ranked No.5 on Paste Magazine's 50 Best Movies of 2011.
Roger Ebert ranked the film No.1 on his The Best Films of 2011 list and wrote: "A Separation" will become one of those enduring masterpieces watched decades from now".
10 AKTRES IRAN PALING JELITA___
LEILA HATAMI DALAM FILEM "GARDEN SALAD" (2005)
(Sumber: PersianMovies)
APA KATA ASGHAR FARHADI (BAHASA INGGERIS)___
Why does the film resonate so much with everyone who sees it, all over the world?
"I don't know exactly why but I can venture a guess: This is in a way a detective story, but the detective is actually the audience. We've seen many detective movies where the language is not realistic, in a way we're seeing a combo of a detective movie and a drama - a hybrid of the two."
He added: "I don't think that local films can't also be universal; they can be both. If you tell a local story very precisely and accurate, it can become quite universal."
Doesn't the film open audiences up to the world of Iran?
"There's an image of Iran that's not correct. I don't mean to say there are no issues or problems - there are. But the type of problems you often imagine are not the ones there. Western audiences might go into this movie with a preconceived notion. For them, it might be strange than Iranians have such layered, complicated issues.
"But I think people all over the world are quite similar. People all over the world have quite complicated issues. The problem is we look through the people of the county through the prism of politics. If you see the people you see how similar we are." The response to his film all over the world has been that "we are very similar."
He's said it many times, but it's worth saying again: "Similarities between people and their cultures, throughout the world, are far greater than their differences, but its better for the interest of politics to highlight the differences."
Asghar Farhadi's goal was not to make a film to help foreign audiences better understand Iran:
"No movie can claim to have a complete view of a country. How could I possibly say that my movie is an image of 70 million people - this would be belittling people.
"He and his fellow Iranian filmmakers don't like to have all their issues brought up or to receive sympathy:
"When you see my movie, assume that I made it under the best possible circumstances. That doesn't mean that I condone the difficult situations in Iran, but I don't want to be a beggar on the street who exposes his wounds just to get sympathy for it.
"Nobody forced me to become a filmmaker under those circumstances, I chose to do so, knowing those circumstances, we Iranian filmmakers don't like to be treated like 'wow, they created…' Just watch our movies."
As for the purported difficulties of bringing films to foreign audiences with language barriers:
"Sometimes it's a good thing to not understand the language, you get down to the real stuff." Farhadi worked in theater for years before becoming a filmmaker. His process is still very theatrical. "We do the type of exercises that if anyone were to see us they'd think we were bizarre."
"He had "A Separation"'s actors do method-like preparation before production began. For months ahead of time you work with actors, it's not like sitting around a table reading a script together."
TRIVIA "A SEPARATION"___
* Tajuk asal "A Separation", "Jodaeiye Nader Az Simin".
* Mula ditayangkan di Festival Filem Antarabangsa Fajr di Tehran pada 9 Februari 2011, kemudian di Festival Filem Antarabangsa Berlin pada 15 Februari 2011.
* Budget (lebih kurang) $US800,000, dan pendapatan kasar setakat 17 Jun 2012, $US7,098,492.
* Keseluruhan penggambaran dilakukan di Tehran, Iran.
* Taglines: "Lies may lead to truth" ("Bohong mungkin membawa kebenaran").
* Menyertai 44 festival filem dan penganugerahan filem antarabangsa.
* Asghar Farhadi (pertama kali dari Iran) dicalonkan merebut anugerah Lakonlayar Original Tebaik (Anugerah Oscar Akademi ke-84), tetapi gagal apabila Woody Allen memenanginya kerana "Midnight In Paris".
* Di Festival Filem Antarabangsa Fajr Iran (2011), memenangi 7 anugerah - Filem Terbaik, Arahan (Asghar Farhadi), Sinematografi (Mahmoud Kalari), Lakonlayar (Asghar Farhadi), Rakaman Suara (Mahmoud Samabakbashi), Pelakon Pembantu Lelaki (Shahab Hosseini) dan Pelakon Pembantu Wanita (Sareh Bayat).
* Filem Iran pertama menerima pencalonan kategori Foreign Language Film Award di British Academy Of Film And Television Arts (BAFTA) 2012, tetapi digagalkan oleh "The Skin I Live In" (Pedro Almodovar) dari Spain.
* Pertama kali Iran memenangi anugerah The Golden Globe (2012) kategori Foreign Language Film, menewaskan "In The Land Of Blood And Honey" (USA), "The Skin I Live In" (Spain), "The Kid And The Bike" (French/Belgium) dan "The Flower Of War" (China).
# Update akan dilakukan dari masa ke masa.
ANDA MUNGKIN JUGA MEMINATI___
berapa banyakkah yang masih ada?
kekuatannya special effect dan aziz sattar
banyaknya pelukan rosnani dan yusof latiff
mencapai kejayaan box office luar jangkaan
teknik fotografinya sangat menarik
apa, berdosakah aini?
kejelitaan maria menado dieksploitasi sepenuhnya
Setelah diamati buku setebal 355 muka surat ini, kesimpulannya konsep penerbitannya harus dipuji kerana ia berlainan sekali dari apa yang pernah disajikan sebelum ini. Dilihat pula dari segi kesungguhan kedua-dua insan (Datuk Aziz Sattar dan Mustafar A.R.) yang pernah mengenali P. Ramlee, banyak betul perkara yang boleh kita ambil iktibar, dan 20 tahun bukan masa yang sedikit untuk mereka menyiapkan buku yang cukup bermutu ini. Memang benar karya peninggalan Seniman Agung Tan Sri P.Ramlee tiada bandingan dan sumbangannya dalam bidang seni terus abadi dan terpahat dalam minda semua lapisan masyarakat, namun di sebalik kehebatannya, buku ini yang turut menyelitkan gambar-gambar dari filem, sinopsis, ulasan dan pengalaman kedua penulis ketika pembikinan 66 filem P. Ramlee, ada memaparkan kisah menarik antaranya bagaimana P.Ramlee menceduk idea dari filem-filem luar untuk disesuaikan dengan filem-filem arahannya - KAKAK TUA.
ya, memang memalukan.
ReplyDeleteindonesia, filipina, thailand dan singapura
sudah ke depan, malaysia ditinggalkan keretapi.
mana tak kena tinggal, kalau asyik buat
filem bermacam jenis hantu, aksi yang memualkan,
dedah sana dedah sini dan entah apa-apa lagi.
megah dapat sambutan box office
punggut juta-juta dan milion-milion ringgit.
tapi filem tak sampai kemana, hampas.
filem singapura pun malaysia tak boleh lawan.
habis, macam mana?
komen anonymous,
Deletepedih memang pedih.
tetapi itulah realiti.
kepada finas
kepada produser2 filem malaysia
bak kata nabil,
"lu fikirlah sendiri."
selagi mentaliti produser2 filem
mahu kaut keuntungan juta2 ringgit
tanpa memikirkan kualiti filem,
selagi itulah malaysia bukan
saja ketinggalan keretapi
tetapi juga ketinggalan kereta lembu.
Salam sejahtera.
ReplyDeleteSekali lagi, Encik Mustafar telah membuat satu kejutan baru apabila memuatkan artikel mengenai filem Iran.
Bagus, kerana telah memperluaskan lagi skop Filem Klasik Malaysia (FKM) dan tidak tertumpu kepada filem Barat, Hindustan, Indonesia, Jepun dan Hong Kong saja.
Sekarang sudah mula banyak pilihan termasuk yang agak panas macam artikel Cecilia Cheung, seniwati Hong Kong tu.
Di harap dimasa akan datang dapat dimuatkan pula artikel dari Negara Arab macam Mesir dan Lebanon.
Disamping Russia, Amerika Selatan dan munkin juga dari Benua Afrika selain Thailand, Vietnam, Pakistan dan Filipina.
- WT 1207A.
terima kasih sdra wt1207a.
Deleteini merupakan satu tugas
yang sangat berat.
bagaimanapun,
saya akan cuba melaksanakannya
beransur2 dan mengikut kemampuan.
insyaallah.
Bagus juga cadangan WT 1207A itu.
DeleteTapi jangan lupa matalamat asal FKM.
WT 1207A ada sebut Lebonan.
Apa kata, kalau saya syorkan Encik Mustafar
mulakan dengan penyanyi tersohornya, Fairuz.
- Emylyana.
fairuz?
Deletebagus juga ya!
nanti saya cuba usahakan.
insyaalah.
terima kasih.
wow sudah tambah dengan 10 seniwati jelita Iran. Memang betul Leila Hatami sekarang paling cantik dan popular di Iran. Jangan lupa ada seorang lagi seniwati veteran dan popular yang pernah memenangi anugerah di peringkat antarabangsa iaitu Niki Karimi. Gambar potret mereka berdua ada diabadikan disebuah galeri lukisan di Tehran.Selain dari itu Hanie Tavassoli dan Yekta Naser memang cantik.
ReplyDeleteWak Terer
Sorry nak tambah lagi.Ada lagi seorang seniwati Iran yang jelita, Golshifteh Farahani tapi sayang dia telah membuat satu persembahan yang memalukan negara Iran.
ReplyDeleteWak Terer
ya, saya tau.
Deletekerana skandalnya
itulah gambar
golshiften farahani
saya kecualikan.
terima kasih.
Saya bersetuju dengan pandangan En. Mustafar dalam komen yang diatas. Kita sepatutnya bertindak lebih pro-aktif dengan mempelajari dari mereka yang telah berjaya seperti Iran. Contoh lain adalah Korea Selatan. Cuba lihat Indonesia yang lebih maju dari kita dibidang perfileman tidak segan dan malu untuk belajar dari Iran. Berikut adalah laporan yang dipetik dari web-site “Tehran Municipalilty” mengenai kenyataan Duta Indonesia ke Iran.
ReplyDeleteAccording to Shahrnevesht, Ambassador Dian Wirengjurit further stated: “Iran and Indonesia are among the largest Muslim countries which could demonstrate a true and different face of Islam to the world. Especially under the present juncture when discussion on globalization is going on, this alliance could represent Islam as a peaceful religion and rich culture and custom.
According to the Indonesian ambassador to Tehran joint cooperation between the two countries would continue in such fields as music and movies. “The Iranian cinema has become very famous after winning the Oscar. Presently the Iranian cinema has become very popular among young Indonesian directors and has many fans. On this basis, when Indonesian cultural and artistic groups come to Iran we plan that their presence would not be limited to implementation of programs but rather they would have meetings with Iranian groups as well.”
Jadi eloklah Malaysia mengikut jejak Indonesia mempelajari dari Iran dengan sekurang-kurangnya menghantar Ketua Pengarah Finas ke sana untuk membuka ruang yang lebih luas kepada mereka yang terlibat secara langsung dengan industri perfileman kita dengan berbincang pula dengan pihak industri perfileman Iran. Janganlah pula alasan fahaman Shiah dan Sunnah dijadikan alasan remeh untuk memutuskan hubungan silaratulrahim sesama Negara Islam. Kata perpatah “better late than never” untuk kemajuan industri perfileman Negara kita.
Wak Terer
diharap ketua pengarah finas
Deletemembaca pandangan & pendapat sdra.
kadang-kadang susah juga
kerana orang-orang filem
malaysia kini boleh dianggap,
bodoh tidak boleh diajar
cerdik tidak boleh dipakai.
contohnya sudah banyak.
sdra carilah sendiri.
Ya, betul kata sdra Mustafar.
DeleteBodoh tidak boleh diajar,
Cerdik tidak boleh dipakai.
Macam Ahmad... Ahmad apa tu...
AHMAD PINTU KOT..
DeleteBetul!... Betul!!...
DeleteAda diantara mereka itu.
Baru keluarkan 1 atau 2 filem.
Baru mengarahkan 1 atau 2 filem.
Bila bercakap alah hai...
Mengalahkan Steven Spielberg.