The book “Short Film, High Sky” was introduced at the Short Film Get-together.
According to the Iran Book News Agency (IBNA), at this session, short films “Everything Depends on Mr. K” by Hassan Hikmatroush, “Art Celebration” by Ali Tavakoli, “Asteroid” by Ehsan Shadmani, and “Ear-splitting Whiteness” by Farid Tahmasbi from Iran, as well as the short film “Echo” by Charlie Delporte from France, were screened. Subsequently, Ehsan Tahmasbi, along with Leila Akhbari as the program host, engaged in discussions with the directors of these works.
After the screening of the short films from the twelfth session of the tenth season of the Short Film Get-together, the book “Short Film, High Sky,” which is a collection of articles from the Fourth Tehran Short Film Studies Conference, was introduced to the audience by Leila Akhbari. This book, published by the Iranian Young Cinema Society Publications and Jica Publications, delves into short film studies and the genre of short films.
“Everything Depends on Mr. K”; From Minimalism to Poetic Realism
At the beginning of the session, Ehsan Tahmasbi, referring to the precision of the Young Cinema Society in selecting and supporting short films, said: “The Society acts with precision and meticulousness in selecting and investing in short films, and I hope this positive trend continues.”
Subsequently, Hassan Hikmatroush explained the formation of the film’s idea:
“This film was made in a village 60 kilometers east of Isfahan, and I am originally from there. The idea for the film took shape from a simple image in my mind; an image of an old man standing by a road in the desert, waiting. I asked myself why he was waiting, and for whom? These questions gradually led to the expansion of the story. Ultimately, parts that inspired the idea didn’t even make it into the film, but the path to creating the work began from that point.”
Tahmasbi further noted the impact of production decisions on the final form of the film: “Not filming at the train station caused the film’s atmosphere to shift from realism towards fantasy. We don’t see the train’s movement, we only hear its sound, and this has made the film’s tone and world more poetic.”
The critic read part of his review of the film, which he had written at a short film festival two years prior: “The collection of memories, events, and lifestyle plays a role in shaping our mental model. In the film ‘Everything Depends on Mr. K,’ this abstract thought is manifested in a postcard-like image of the sea and a boat, transforming into a distant utopia.”
The critic added: “With a simple story and a complex character, the film adopts a minimalist approach. Even the pastoral music of the film, with a few repetitive notes, is in line with this simplicity. In my opinion, this film shares similarities with the cinema of Shahid Sales, although its subject matter is more contemporary. The film’s idea is internal and stems from the director’s mental world; hence, it possesses meaning and authenticity.”
Hikmatroush responded: “In the writing process, I realized the story was very personal and intertwined with my own concerns; such as a continuous feeling of dissatisfaction with the current situation and a search for something new. I came from Isfahan to Tehran with the idea that everything would improve, but then I realized that the same feeling had repeated itself. This theme also exists in the film: the moment of arrival, the loss of meaning.”
Tahmasbi, referring to the visual aspects of the film, said: “In the final extreme long shot, suspense is correctly created; the shot is fitting and meaningful, not merely beautiful. This precision in mise-en-scène and découpage indicates the filmmaker’s intelligence.”
Tahmasbi emphasized: “The use of a non-professional actor in this film was one of the director’s correct decisions. The presence of a professional actor could have harmed the atmosphere of the work, but this choice led to greater believability and proximity to the film’s world.”
Hikmatroush explained about the actor selection: “The main role was played by a local person from that village; a farmer we met while visiting the location. From the beginning, I intended to preserve his natural tone and behavior. We didn’t prompt him with dialogues but explained the concept of the situation to convey a sincere feeling. I was inspired by Aki Kaurismäki’s cinema, where the simplicity and rawness of the actor himself adds depth to the meaning.”
He continued, referring to the influence of Aki Kaurismäki’s cinema (Aki Kaurismäki) on his perspective: “When I thought about directing the film, I turned to filmmakers like Kaurismäki, especially the film ‘I Hired a Contract Killer’. In his works, actors appear in simple situations with minimal mise-en-scène and découpage, and their performances, despite their rawness, convey emotion and meaning. This method was inspiring for me. I tried to achieve that same feeling; therefore, using a professional actor was not suitable for the atmosphere, and I preferred to work with a non-professional actor who would live the character himself.”
At the end of the session, Leila Akhbari, the host, speaking about the believability of the acting and the atmosphere of the work, said: “You completely believe the main character. Even in scenes where the film’s tone shifts towards comedy, this feeling emanates from his performance. As Asghar Farhadi has said, the art of a director lies in the harmony between the actor’s characteristics and the character, and I believe this happened very well in your film.”
“Art Celebration”; Collective Viewing Reveals the True Function of Genre
Ali Tavakoli, at the beginning of the session, discussed his approach to making this film: “For me, a short film is an opportunity for experimentation and experience. If I were to make another short film, I might venture into the horror genre. ‘Art Celebration’ was a kind of exercise in the comedy genre for me, not based on a predetermined screenplay for laughs, but an attempt to experience a new atmosphere and situation.”
He continued to explain about the selection of the main actor: “I had Mohammad Ashkanfar previously in the film ‘Kabood,’ where he played a serious and somber role. Initially, I doubted whether he could handle a comedic role, but when he read the text with a Shirazi accent, it took on a charming mood, and he added some local idioms himself, which ultimately benefited the film.”
Ehsan Tahmasbi, film critic, analyzing the film, said: “‘Art Celebration’ is one of those short films crafted with precise cinematic elements. Every element serves its correct function, and the film progresses without superfluity or excessive dialogue. In Iranian short cinema, venturing into the comedy genre is uncommon, and few filmmakers take that risk, but Tavakoli boldly went for it, and the result is an entertaining and well-structured film.”
Referring to the historical context and situational humor of the film, he added: “While being a sweet and humorous narrative, the film is not devoid of subtext and historical references, and it addresses intellectualism and the political situation of the 1970s with a kind of intelligent perspective. This causes the film to transcend the level of a simple comedy.”
National Concern and Subtextual Reading
Tavakoli also spoke about the film’s theme: “Alongside storytelling and the function of genre, it was important for me that the film had a subtext about national concerns. The question of where the boundary of loyalty to the homeland lies? If we are disgruntled with a political structure, to what extent can we act against it? Even the character of the intelligence officer in the film, despite his formal appearance, is actually serving the national interest. In the opening shot of the film, he stands before a curtain depicting the battle of Rostam with the Khagan of China, which for me was a symbol of this very concept.”
Tavakoli, referring to various reactions to the film during screenings, said: “Some viewers were upset by the jokes about intellectuals and reacted harshly, but the general feedback at the festival was very good. We ourselves were surprised by the amount of laughter from the audience in the hall! Experience showed that a comedy film or a horror genre film only makes sense in a hall with an audience, not when viewed individually.”
Leila Akhbari, the session host, said: “Short film is a place for experimentation, and ‘Art Celebration’ is a correct film within its genre. Perhaps my personal taste is closer to your previous film ‘Kabood’, but the difference in tone, performances, and the historical setting of the new work is very appealing. It is a film that emerged from an exercise but is ultimately a complete and defensible work.”
Ehsan Shadmani and Farid Tahmasbi, directors of the two short films “Asteroid” and “Ear-splitting Whiteness,” were not present at the session, and Erfan Tahmasbi presented some points about these two films.
“Asteroid”; Boldness in Editing and Sound Design as the Film’s Strength and Distinction
Ehsan Tahmasbi, film critic, spoke about the short film “Asteroid”: “I had previously seen Farid Tahmasbi in cinematography, and now that I saw the film, some interesting points came to mind. First and foremost, I must mention the presence of the actor, which was a very correct choice. Especially a choice made before this actor’s recent successes indicates the filmmaker’s keen eye. He carries a suffering in his face that is completely consistent with the character of a man who comes into contact with a supernatural force and is tasked with completing an unfinished job.”
He continued: “Regarding the dramatic structure of the film, I must say we are dealing with a work of hyper-drama. There is usually a misunderstanding of this term, and some people confuse it with fantasy or other genres, but this is not the case. In world cinema, works by Lars von Trier like ‘Breaking the Waves’ possess hyper-drama characteristics. In this type of narrative, the audience may not necessarily have a direct empathy with the main character, but the moral weight and emotional impact of the film are very prominent.”
Tahmasbi added: “In ‘Asteroid’, too, we encounter a character who has endured bitter and difficult experiences of war and loss, but still remains an engaging and influential human being. The film’s sound was also one of its prominent features; sound design and echoes greatly contribute to the emotional understanding of the atmosphere.”
The critic also commented on Hassan Shirazi’s acting: “Normally, I believe that in short films, professional actors should be used as little as possible, but here, Hassan Shirazi’s presence helps the film and doesn’t stand out. His performance is completely controlled, precise, and serves the work. He also had a difficult role, and despite the challenges, he delivered one of his best recent performances.”
He further stated: “The film’s editing is also very bold, and that final sequence where the camera moves among cars and we hear the characters’ voices is profoundly impactful. That scene creates a deep sense of fear and pathos in the audience. In my opinion, this film is a successful example of the correct approach to drama in the form of a short film; a work that has found its place well, both in terms of acting and form.”
“Ear-splitting Whiteness”; Filmmaker’s Boldness in Confronting Nature
Ehsan Tahmasbi also spoke about the short film “Ear-splitting Whiteness”: “The choice of a film’s title is very important, and it is better to choose a specific and unique title. ‘Ear-splitting Whiteness’ is a title that relates to both the theme and the visual experience of the film.”
He added regarding the film’s structure and theme: “This experimental film closely depicts the process of human destruction of nature; something that is only possible within the framework of an experimental film. The display of absolute whiteness and the ear-splitting sound at the end conveys a sense of human confrontation with the environment. Submitting such a film to a festival centered on the environment indicates the maker’s courage and commitment. Perhaps not all the details of humanity’s disgust with environmental destruction are conveyed to the audience, but it is clear that the filmmaker is satisfied with making this work and has gained valuable personal experience.”
He concluded: “Not every collection of images can be considered a cinematic experience. An experimental film only gains meaning when there is an understanding and engineering of form behind it. ‘Ear-splitting Whiteness’ is an example of boldness and formal perspective that can inspire young filmmakers.”
