Jafar Panahi
Jafar Panahi (basa Pérsia: جعفر پناهی) nyaéta sutradara sakaligus aktor asal Iran. Anjeunna kasohor di dunya internasional ku kontribusina nu signifikan pasca Révolusi Sinéma Iran 1979 sarta diasosiasikeun jeung aliran Iranian New Wave. Karya-karya anjeunna, ngakar dina néoréalisme sarta musatkeun kahirupan wanoja, murangkalih, sarta kaum-kaum marjinal, ngawangun gambaran kritis ti kaayaan sosial, politis, sarta struktur anu pakait jeung génder ti masarakat kontemporér Iran.
Karya-karya anjeunna anu kasohor, nyaéta The White Balloon, Taxi, The Circle, The Bear, sarta karya anu panganyarna anu dirilis taun 2025, It Was Just an Accident.
Cutatan
[édit]- I'm really optimistic about the future of Iranian cinema because of all these young and talented filmmakers...What makes me hopeful is this pool of young filmmakers can use all-digital cameras to make their own movies. There was a time when the government had a monopoly on all the filmmaking equipment. But right now you don't have to go to the government to make your films.
- Sim kuring optimis pisan ngeunaan mangsa hareup sinéma Iran ku lantaran sadaya sinéas ngora sareng berbakat ieu... Anu ngajieun sim kuring pinuh ku harepan nyaéta lingkup sinéas-sinéas ngora ieu tiasa ngagunakeun kaméra anu sakabéhna digital pikeun ngadamel pilemna sorangan. Aya mangsana nalika pamaréntah téh ngajieun monopoli dina paralatan-paralatan paragi ngajieun pilem. Nanging ayeuna, anjeun teu kedah indit ka pamaréntah pikeun ngadamel pilem anjeun nyalira.
- I want you to put yourself in my shoes as a filmmaker who can't do anything else but make films, and doesn't want to do anything else. How much time do I have left? Do I have twenty years left to live? I cannot stay idle. I know this is what they want. They let me out of a small prison and released me to a much larger one. When I was in a small prison I knew there was nothing I could do there. Every movement was being watched. ..Now that I am so-called 'free', but in reality in a larger prison, I have to do something and cannot stay idle and let my life be wasted.
- Sim kuring hoyong anjeun nempatkeun diri anjeun sorangan minangka hiji sinéas anu teu tiasa ngalakukeun nanaon iwal ti ngadamel pilem, sarta teu hoyong ngalakukeun nanaon deui. Sabaraha seueur sésa mangsa anu sim kuring gaduh? Naha ari sim kuring gaduh dua puluh taun deui pikeun hirup? Sim kuring teu tiasa cicing waé. Sim kuring terang éta téh anu ku aranjeunna pikahayang. Anjeunna ngidinan kuring kaluar ti penjara leutik teras ngabébaskeun kuring ka hiji nu leuwih badag. Nalika sim kuring dina hiji penjara leutik, sim kuring terang teu aya deui anu ku sim kuring bisa lakukeun di ditu. Unggal pergerakan sim kuring téh dilalajoanan... Ayeuna téh sim kuring kasebut 'bébas', nanging dina kanyataanna mah aya di penjarah nu leuwih gedé, sim kuring kudu ngalakukeun hiji hal sarta teu tiasa teras cicing sareng ngantep hirup sim kuring dilelebar.
- My films are always inspired by the environment in which I find myself. I hadn't gone to prison previously; my environment was just Iranian society. What I could see, observe, inspired my films - the daily life of perfectly normal people. But once you've been sent to prison, inevitably you're influenced and impacted by what you experience there and what you see. I don't know whether I'd refer to this as violence, however. Non-violence also can be found in violence. Throughout the film, one of the recurring themes is to avoid violence and this is directly mentioned by several of the characters. In this film, we show different groups, different ways of reacting to what is happening, just like any society today. In Iranian society currently, you have all sorts of different groups, very radical people and very simple people. Perhaps you read violence into this but everyone can interpret things in their own way. People perceive the film no doubt differently and will interpret things differently as a result.
- Pilem-pilem sim kuring téh teu weléh diinspirasi ku lingkungan nu mana sim kuring téh mendakan diri sim kuring aya di dinya. Sim kuring teu acan lebet ka penjara sateuacanna; lingkungan sim kuring téh ngan masarakat Iran. Naon anu ku sim kuring tiasa tingal, tengetan, nginspirasi pilem-pilem sim kuring - kahirupan sapopoé ti jalma-jalma normal. Nanging sakali anjeun dikirim ka penjara, moal bisa dihindarkeun yén anjeun téh kapangaruhan sarta kadampak ku naon anu ku anjeun alaman di dinya sarta ku naon anu anjeun tingal. Sim kuring teu terang boh sim kuring téh bakal ngarujuk ieu minangka katelengesan, kumaha ogé. Hal anu sanés katelengesan ogé tiasa dipendakan di jero katelengesan. Salila pilemna, hiji téma anu teras muncul téh pikeun ngahindar ti katelengesan sareng éta téh disebutkeun sacara langsung ku sababaraha tokohna. Dina pilem ieu, urang nunjukkeun sababaraha kelompok, sababaraha cara pikeun nyikepan tu naon keur kajadian, siga kumaha masarakat ayeuna. Di masarakat Iran ayeuna, anjeun tiasa miboga sagala jenis kelompok anu béda, anu radikal pisan sarta anu sederhana pisan. Meureun anjeun téh maca katelengesan dina ieu, nanging saha waé tiasa ngahartikeun dina carana sorangan. Jalma téh nganiléy pilem ieu henteu bisa diragukeun béda-béda sarta bakal ngahartikeunna béda-béda minangka hasilna.