The real Iran is much larger than the frames that some Persian-speaking filmmakers and artists narrate at international events. These narratives focus more on social, economic, and familial problems, and in fact, present a one-sided image of a society with a history of resistance and perseverance. In this context, the true position of Iran and its hopeful stories have been marginalized.
Repetition of Crisis Narratives
The news of awarding the Best Actress prize in the "Horizons" section of the Venice Film Festival to a Persian-speaking actress may seem like a cinematic success at first glance, but in reality, it should be viewed as part of a cultural and media issue. The film "Watchful" narrates the story of an Iranian family caught in social, economic, and familial crises. This film considers depicting problems as the right of cinema, but the danger lies in the fact that only part of the reality comes to the surface, reducing the overall image of Iran to a society full of crises and despair.
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The Necessity of Diversity in Narratives
Cinema must be able to distinguish between social realities and selected narratives. In a situation where one part of reality takes the place of the entire reality, it must be asked what kind of narrative about Iran receives more attention from festivals. Do narratives that emphasize corruption, poverty, and migration have superiority over other narratives?
International festivals are not just venues for film screening; they are also part of the field of meaning and image production about nations and societies. Therefore, it is essential to consider that if Iran is introduced as a society full of dead ends and hopelessness, the cultural and media institutions of the country must discuss this image. This is where the concept of the war of narratives becomes important. If we do not narrate, others will, and ultimately, the image constructed from the outside will replace our narrative.
In such circumstances, cinema is one of the most important tools of cultural narration. Alongside making films about social harms, it is also necessary to create films about hope, resistance, and the historical experiences of the Iranian people. Iran is neither a problem-free paradise nor a land of darkness and dead ends. Iranian society is a collection of contradictions, potentials, and challenges.
The Venice award, more than being the end of a story, can be the beginning of a serious question: Why is an image of Iran that is more appealing to foreign audiences usually focused on crises and darkness? Answering this question requires a serious reconsideration of the country's cultural and cinematic policies.
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