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Rakhshān Banietemad

Iranian film director and screenwriter From Wikipedia, the free encyclopedia

Rakhshān Banietemad
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Rakhshān Banietemad (Persian: رخشان بنی‌اعتماد; born April 3, 1954, in Tehran, Iran) is an Iranian film director and screenwriter. She is often referred to as the "First Lady of Iranian Cinema" due to her prominent role in the country's film industry and her ability to merge political themes with personal and family narratives in her work.[1] Banietemad is known for exploring societal issues through characters, who often represent various segments of Iranian society.

Quick Facts Rakhshan Banietemadرخشان بنی‌اعتماد, Born ...

Her films often address a wide range of issues such as: the evolving roles of women, poverty, war, domestic abuse, social mobility, and balancing a portrayal of harsh realities with a sense of hope for change.[2]

Banietemad's films frequently focus on women, with characters such as Tooba (Golab Adineh), Nobar (Fatemah Motamed-Aria), and Sara (Baran Kosari) representing different facets of women's experiences in Iran. These characters are often revisited and reinterpreted over time, reflecting the changes in Iranian society and culture.

Her 2002 film OurTimes (Ruz-egar-e ma) became the first documentary to be released in theaters in Iran.[citation needed]

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Early life and education

Rakhshan Banietemad was born in Tehran, Iran, on April 3, 1954, into a middle-class family. Although her parents encouraged her to pursue a career in teaching, she demonstrated an interest in film from a young age. As a teenager, she decided to study film, and earned a Bachelor of Arts in film studies from the Dramatic Arts University in Tehran.[3] Initially, Banietemad had planned to study architecture. Just before entering university, she took an exam for an intensive stage assistance course by the School of Television and Cinema, and was one of the 20 students accepted. She studied both architecture and stage assistance, but the following year, she took the national exam for the faculty of dramatic arts and chose to focus on film directing.[4]

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Career

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1970s and 1980s

In 1973, after completing her degree, Banietemad began working as a script supervisor for the Iranian television network IRIB (Islamic Republic of Iran Broadcasting). Later, in 1980, she directed television documentary features.[3] Her films are steeped in Iran's social and economic context.[5]

In 1981, Banietemad began working in cinema as a script supervisor on films such as The Liegemen and Chrysanthemum. She directed her first feature film Off the Limits in 1987. She followed this up Canary Yellow in 1988.[2]

1990s and 2000s

She earned critical and popular acclaim in 1991 with Nargess.[3] She received the Best Director Award from the Fajr Film Festival, marking the first time in the history of the festival that a woman was awarded this prize.

Since then, she has received numerous awards for her films, including a Bronze Leopard Award for The Blue-Veiled at the 1995 Locarno Film Festival[3] and, in 2001, won the Best Foreign Language Film Award and the Audience Award at the 2001 Turin Film Festival for Under the Skin of the City (2001).[2]

With her 2002 documentary film Our Times, Banietemad became the first female filmmaker to explicitly confront the Iran-Iraq war, placing her in an important role in Iranian film history.[3] This was also the first documentary ever to be shown in Iranian movie theaters [citation needed] and was also shown in prominent film festivals such as IDFA and Sundance Film Festival.[citation needed] The film was also broadcast on the Franco-German network ARTE. She is considered a political film maker whose films to walk right up to the line of what Iranian censorship codes allow.[6]

Her 2004 film, Gilaneh, considered an anti-war film, was nominated for three Crystal Simorghs at the Fajr Film Festival and won for best make-up and a special jury prize. Fatemeh Motamedaria, who starred in Gilaneh, won best actress.[2]

2010s to Present

Banietemad continued to direct films during the early 2010s, including Mainline and Tales.[2] In Tales (2014), Banietemad intertwines seven stories, where notable female characters from her past films reappear, reinforcing the historical and cultural relevance of her work and her impact on the portrayal of women in Iranian cinema.[4] Tales was selected to compete for the Golden Lion at the 71st Venice International Film Festival.[7][8]

She also continued making documentaries, and has collaborated with young filmmakers in Hey, Humans (2016), and The Karastan film series (2013-2017).[2]

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Style

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Banietemad’s unique style blends documentary techniques with fictional filmmaking. Her films frequently examine the hardships faced by Iran’s lower classes, single women, single mothers, and complex family dynamics.[6][3] Often, her characters directly address the camera, contrasting with typical documentary conventions.[3]

Her films also explore the complex relationships between mothers and their children, a theme rooted in her own experience as a mother in Iran. This focus reflects the societal expectations of Iranian women, who often find it difficult to separate their personal lives from their maternal roles within the country’s patriarchal structure.[5]

Banietemad has mentioned that her feature films are often inspired by people she saw during her documentary film-making.[9] For example, the story of Nargess comes from a documentary about homeless women, the character of Touba in Under the Skin of the City (2001) came about from a documentary on working women, and the character of "Kabootar" in the movie The Blue Veiled (1995) was inspired by a harsh woman called "Mr. Ghodrat" (Ghodrat means a power which is a male name).[9]

Banietemad is known for her interest in strong female characters[3] and she views Iranian women as central to the countries future and often highlights their strength and resilience.[3]

Although her work prominently features strong female protagonists, Banietemad rejects being labeled a feminist filmmaker. She has expressed her discomfort with the term, particularly in the Iranian context, where "feminist" carries negative connotations. Instead, she focuses on the broader struggles of society’s lower classes, regardless of gender, and prefers not to be categorized under any specific label.[10]

Legacy

She was awarded an honorary degree from SOAS in 2008.[11]

Personal life

She is married to Iranian film producer Jahangir Kosari. Their daughter, Baran Kosari, is an Iranian film actress. Kosari began acting at a young age and is now a professional actress. She has appeared in her mother's films, as well as those of other Iranian filmmakers.[5]

Humanitarian actions

Banietemad donated her international prize for the movie Ghesseh-ha to build a shelter for homeless women. She also donated some of her awards to help disadvantaged women.[citation needed]

Filmography

Feature films

More information Year, Title ...

Documentaries

  • Karestan Documentary films (artistic consultant), 2013–17:
    • Poets of Life
    • Puzzleys
    • Mother of the Earth
    • MAHAK: A World She Founded
    • Friends at Work
    • Flax to Fire
  • Hey, Humans (Ay, Adamha), 2016
  • One Hour in a Lifetime (Yek saat az yek omr), 2015
  • All My Trees (Hameh derakhtan-e man), 2015 which exmained the work of Mahlagha Mallah
  • The Other Side of Mirrors (An sooy-e ayeneh ha), 2014
  • The Mirrors Recital (Concert-e ayeneh ha), 2014
  • The Concert of the Lords of Secrets (concert-e khodavandan-e asrar), 2014
  • Mahak My Home (Khaneh man Mahak), a teamwork, 2014
  • Keep Children in School (Bacheh ha ra dar madreseh negahdarim), a teamwork, 2012
  • The Room No. 202 (Otahgh-e 202), part of Kahrizak 4 Views, 2012
  • I’ll see you Tomorrow Elina (Farda mibinamet Elina), 2010
  • We Are Half of Iran's Population (Ma nimi az jameiat-e Iranim), 2009
  • Angels of the House of Sun (Hayat khalvate khaneh khorshid), 2009
  • Second Home (producer), Director: Mahvash Sheikholeslami, 2008
  • 3D Carpet (Farsh-e 3 Bodi), Part of "Iranian Carpet", 2007
  • Our Times… (Ruzegar-e ma…), 2002
  • The Last Visit with Iran Daftari (Akharin didar ba Iran Daftari), 1995
  • To Whom Do You Show These Films? (In filmha ra beh ki neshun midin?), 1993
  • Spring to Spring (Bahar ta bahar), 1993
  • The 1992 Report (Gozaresh-e 71), 1993
  • Centralization (Tamarkoz), 1986
  • The War Economic Planning (Tadbirha-ye eqtesadi-e jang), 1981
  • Occupation of Migrant Peasants in the City (Mohajerin-e roustai dar shahr),1980
  • The Culture of Consumption (Farhang-e masrafi), 1979
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Honors and awards

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  • Honorary Golden Cyclo, 23rd Vesoul International Film Festival of Asian Cinema (France), 2017
  • Ethics and Prayer Award for social and civilian activities (Iran), 2016
  • Cinema Honorary Award, 4th International Women Film Festival (Afghanistan), 2016
  • Cinema Honorary Award, 6th International Crime & Punishment Film Festival (Turkey), 2016
  • Special Jury Prize, Kahrizak 4 views, Dubai International Film Festival (UAE), 2012
  • Prix Henri Langlois, Vincennes International Film Festival (France), 2010
  • Special Jury Prize, We Are Half of Iran's Population, (WIFTS) (USA), 2009
  • Achievement in Directing, Mainline, Asia Pacific Screen Awards (Australia), 2007
  • Best Director & Best Actress, Mainline, Iran Cinema House Awards (Iran), 2007
  • Artistic & Cultural Achievement Award, Kara International Film Festival (Pakistan), 2004
  • Prince Claus Prize for Culture and Development (The Netherlands), 1998
  • "Il Sindaco di Firenze” Peace and Freedom Award (Italy), 1998
  • Best Asian Woman Director, The Blue Veiled, India International Film Festival (India), 1996
  • Best Film, Off the Limits, Comedy International Film Festival (Italy), 1987
  • The Prince Claus Award, 1998
  • Honorary doctorate, SOAS, University of London (2008)[11]
  • Chairperson International jury, at 52nd International Film Festival of India, Goa 2021.[33]
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Professional distinctions

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Further reading

  • Cobbey, Rini. "Under the Skin of the City; Under the Surface Contrasts." Film in the Middle East and North Africa. Ed. Josef Gugler. Austin: Texas UP, 2011. 84-93.
  • "Rakhshan Banietemad." Firouzan Films. 2011. Firouzan Films.
  • Moruzzi, Norma Claire. "Women in Iran: Notes on Film and from the Field." Feminist Studies. 27.1(2001): 89-100.
  • Whatley, Sheri. "Iranian Women Film Directors: A Clever Activism." Off Our Backs. 33.3/4(2003): 30-32.
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See also

References

External links

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