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Rakhshān Banietemad

(Redirected from Rakhshan Bani-Etemad)

Rakhshān Banietemad (Persian: رخشان بنی‌اعتماد; born April 3, 1954, in Tehran, Iran) is an Iranian film director and screenwriter. Her title as the "First Lady of Iranian Cinema" references her prominence as a filmmaker and connotes her social role of merging politics and family in her work.[1] Her signature style focuses on a character representing a part of society to explore while remaining objectively neutral. The first period of Banietemad's cinematic activity originates from dark humor whilst in the second period of her work the dark humor gives way to more serious, deeper and broader issues that are addressed and are influenced in films. Banietemad has a more balanced view of life.[2]

Rakhshan Banietemad
رخشان بنی‌اعتماد
Banietemad, March 2014
Born
Rakhshan Banietemad

(1954-04-03) April 3, 1954 (age 70)
Tehran, Iran
Occupation(s)Film director
Producer
Screenwriter
SpouseJahangir Kosari (1979–present)
ChildrenBaran (b. 1985)
Tandis (b. 1975)

She is known for representing contemporary situations well, often depicting the changing roles of women, and also covering a broad spectrum of social issues, including war, poverty, domestic abuse, and class mobility. Banietemad's characters embody a sense of nostalgia in women, with examples like Tooba (Golab Adineh), Nobar (Fatemah Motamed-Aria), and Sara (Baran Kosari). Yet, in revisiting these characters, they are rewritten, re-described, and reinvigorated in dialogue with Iran's present. An oral history of Rakhshan Banietemad's career offers a rich lens into Iranian cinema and culture over nearly three decades.[3]

In the early stages of her career, documentaries were the dominant form of filmmaking. Even after she gained international esteem for her dramatic features, she continued to make documentaries. Our Times (Ruz-egar-e ma, 2002), for example, was the first documentary ever to be released in movie theatres in Iran. It was broadcast on the Franco-German television network ARTE and shown at prestigious festivals such as the International Documentary Film Festival Amsterdam and the Sundance Film Festival. Banietemad's documentary practice has been so effective that her works often change the lives of her subjects. She says she has “never ended the strong connection that she has always felt with documentaries.”[3]

Early life and education

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Rakhshan Banietemad was born in Tehran, Iran, on April 3, 1954, into a middle-class family. While her parents wanted 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. She received her Bachelor of Arts in film studies from the Dramatic Arts University in Tehran.[4] Banietemad had originally planned to study architecture. When she was about to enter university, she took an exam to join an intensive course in stage assistance offered by the School of Television and Cinema, and she was one of the 20 students accepted. She studied architecture and stage assistance together, but the next year she took the national exam for the faculty of dramatic arts and chose to study film directing.[3]

Career

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1970s and 1980s

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Banietemad started her directing career with documentaries, with some of her early works including The Culture of Consumption (Farhang-e masrafi), Occupation of Migrant Peasants in the City (Mohajerin-e roustai dar shahr) and The War Economic Planning (Tadbirha-ye eqtesadi-e-jang). The effect of her early documentary filmmaking can be seen in her narrative films later on.[5]

In 1973, shortly after completing her degree, Banietemad began working for the Iranian television network IRIB (Islamic Republic of Iran Broadcasting) as a script supervisor. Later on, in 1980, she began directing television documentary features.[4] Her films are steeped in Iran's social and economic problems.[6]

Banietemad has repeatedly mentioned that her stories come from the development of characters she saw during her documentary filmmaking. For example, the story of Nargess is from a documentary made to study homeless women, the character of Touba in the film Under the Skin of the City (2001) is the result of her research in a documentary on working women, and the character of "Kabootar" in the movie The Blue Veiled comes out of the character of a rough and harsh woman who was even called "Mr. Ghodrat" (Ghodrat means a power which is a male name).[5]

In 1981, Banietemad began working in cinema as a script supervisor on films such as The Liegemen and Chrysanthemum. In 1987, she directed her first feature film Off the Limits. She then revised the script for Canary Yellow and directed it.[2]

1990s to Present

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Banietemad did not receive immediate praise upon entering the film industry. Her early feature films were met with harsh criticism. However, she finally earned critical and popular success in 1991 with her film Nargess.[4] 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 the Best Director 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.[4] Under the Skin of the City won her the Best Foreign Language Film Award and the Audience Award at the 2001 Turin Film Festival.[2]

During the early 2000s, Banietemad returned to filmmaking with Gilaneh (2004). 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. Fatemeh Motamedaria, who starred in Gilaneh, won best actress.[2]

Banietemad released more films during the early 2010s, including Mainline and Tales.[2] Tales was selected to compete for the Golden Lion at the 71st Venice International Film Festival.[7][8]

Documentary Films

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While Banietemad's feature films have been acclaimed and honored worldwide, her documentaries have also been successful and popular internationally. Our Times… (2002) was the first documentary ever released in movie theatres in Iran. It was also screened in prestigious and prominent festivals and TV channels such as IDFA, Sundance Film Festival, and ARTE.

Documentaries have been her main way of connecting with society and social issues. Indeed, her feature films' realistic aspects and authentic feel stem from her documentary style of life and social matters. Her approach in making documentaries and in depicting social issues has been so strong and effective that her works have always resulted in causing a change in the lives of her documentaries' subjects. Her documentaries center on poverty, criminality, divorce, polygamy, social norms, cultural taboos, women's oppression, and cultural expectations.

With her 2002 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.[4] She has challenged censorship codes to the very edge.[9]

In the 2010s, Banietemad started making documentaries again, producing and collaborating with young filmmakers. Hey, Humans (2016), and The Karastan film series (2013-2017) are examples of Banietemad’s work with amateur filmmakers.[2]

Style

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Banietemad has an interest and an attraction to strong female characters dealing with social issues.[4] In her more recent films, she features female characters from lower classes and incomes who are struggling to make a living.[9] She highlights the strength and resilience of Iranian women as the hope for the country's future. According to the filmmaker, despite the legal and cultural barriers and the economic hardships for lower-income women, their strong nature is an admirable quality of women in Iran.[4] In addition, her films focus on the complex relationships between mothers and their children. This stems from her own experience as a mother in Iran, but also from the Iranian woman's inability to tackle her life without considering her maternal role — a reality that is deeply ingrained in the Iranian patriarchal structure.[6]

In her most recent film, Tales (2014), she seamlessly intersects seven stories. In these narratives, Banietemad's most memorable women characters once again take the stage, reminding audiences of the historical and cultural significance of her previous films and how she has shaped the history of Iranian cinema in terms of the representation of women.[3]

Despite the predominance of strong female protagonists in her work, Banietemad is not to be associated with feminist filmmaking. Banietemad has explicitly rejected the label often applied to her by Western film festivals as a "feminist filmmaker." She is more concerned with the universal struggle of society’s lower rungs, regardless of gender. She does not identify with the label due to the implications of the word "feminist," which in Iran has a more negative connotation than in America. According to Banietemad, as long as the understanding of the term remains in Iran, she will disassociate from the label.[10]

In conjunction with her documentary approach to fictional film, Banietemad's signature style consists of films that deal with social issues specific to Iran yet still maintain broad international appeal. She is recognized for reflecting the struggles of Iran's lower classes, the plight of single women and single mothers in Iran, and complicated family relationships. She often examines the duality of human nature in familial and workspaces. To accommodate documentary conventions, her characters directly address the camera.[4]

Legacy

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With a collection of films that combine absolute honesty with extraordinary subtlety, Banietemad analyzes the current cultural pressures shaping Iranian women's lives.[11] She is widely recognized among Iranian audiences and critics as one of Iran's most prominent filmmakers and has also enjoyed international popularity.[4]

She was awarded an honorary degree from SOAS in 2008.[12]

Personal life

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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.[6]

Humanitarian actions

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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.

Filmography

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Feature films

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Year Title Role
Director Writer Producer
1987 Off the Limits (Kharej az Mahdudeh) Yes
1988 Canary Yellow (Zard-e Qanari) Yes
1989 Foreign Currency (Poul-e Khareji) Yes
1991 Nargess Yes Yes Yes
1995 The Blue Veiled (Rusari Abi) Yes Yes
1998 The May Lady (Banu-ye Ordibehesht) Yes Yes
1999 Baran and the Native (Baran va Bumi) Yes Yes
2001 Under the Skin of the City (Zir-e Poost-e Shahr) Yes Yes Yes
2004 Gilaneh Yes Yes
2006 Mainline (Khun Bazi) Yes Yes Yes
2009 Heiran Yes
2014 Tales (Ghesseh ha) Yes Yes Yes

Documentaries

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  • 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

Honors and awards

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Year Title Festival Award Category Result Notes References
1991 Nargess 10th Fajr International Film Festival Simorgh Best Director Won [13]
Best Screenplay Nominated [14]
1994 The Blue Veiled 13th Fajr International Film Festival Simorgh Best Director Nominated [15]
Best Screenplay Won [16]
Iranian Cinema Directors Association Seemeen Best Director Won [17]
1995 Locarno International Film Festival Bronze Leopard Won
1996 Tessaloniki International Film Festival (Greece) FIPRESCI Won [18]
1997 The May Lady 16th Fajr International Film Festival Special Jury Prize Best Director Won [19]
1998 Montreal World Film Festival FIPRESCI Hounarable Mention Won [20]
2nd Iranian Cinema Festival Best Director Nominated [21]
2000 Under the Skin of the City 4th Iranian Cinema Festival The best film selected by the Critics and Writers Association Nominated [22]
Best Screenplay Nominated Joint with Farid Mostafavi
Best Film Nominated
Best Director Won
Moscow International Film Festival Special Jury Prize Won
2001 Karlovy Vary International Film Festival (Czech) Netpac Won [23]
Turin International Film Festival (Italy) Best Screenplay Won Joint with Farid Mostafavi
Audience award Won
Cinemavenire Best Film Won
2002 Seattle International Film Festival Special Jury Award Won
Our Times Locarno International Film Festival Netpac Won
2005 Gilaneh Kara International Film Festival Best Film Won
Iranian Women Film Directors Golden Lotus Won
10th Holy defense Festival (Iran) Special Jury Prize Best Director Won Joint with Mohsen Abdul Wahab [24]
2006 Vesoul Asian Film Festival (France) Netpac Won Joint with Mohsen Abdul Wahab [25]
Las Palmas de Gran Canaria International Film Festival (Spain) Special Jury Prize Won
2007 Mainline Asia Pacific Screen Awards Best Director Won Joint with Mohsen Abdul Wahab [26]
25th Fajr International Film Festival Simorgh Best Screenplay Won Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini [27]
Asiatica Film Mediale (Italy) Best Film Won
City International Film Festival (Iran) Best Film Won
11th Iranian Cinema Festival Best Screenplay Nominated Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini [28]
Best Director Won Joint with Mohsen Abdul Wahab
2008 International Women's Film Festival (Creteil, France) Grand Jury Prize Won [29]
Pyongyang International Film Festival (North Korea) Best Screenplay Won Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini
Dhaka International Film Festival (Pakistan) Special Jury Prize Won
2014 Tales Venice International Film Festival (Italy) Best Screenplay Won Joint with Farid Mostafavi [30]
Kolkata International Film Festival (India) Golden Royal Bengal Tiger Best Film Won
Asia Pacific Screen Awards (Australia) Special Jury Prize Won [31]
32nd Fajr International Film Festival Best Film Nominated [32]
The 17th Iranian Cinema Festival Best Film Nominated [33]
Best Director Nominated
Best Screenplay Nominated Joint with Farid Mostafavi
2015 London Iranian Film Festival (UK) Best Film Won
Gene Siskel Film Center (USA) Audience Award Won
2016 Prague Iranian Film Festival (Czech) Best Film Won
  • 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) [12]
  • Chairperson International jury, at 52nd International Film Festival of India, Goa 2021.[34]

Professional distinctions

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Further reading

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  • 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.

See also

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References

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  1. ^ 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.
  2. ^ a b c d e f "درباره رخشان بنی‌اعتماد". ایرنا (in Persian). 2020-04-02. Retrieved 2021-12-01.
  3. ^ a b c d Armatage, Kay; Khosroshahi, Zahra (2017-01-01). "An Interview with Rakhshan Banietemad". Feminist Media Histories. 3 (1): 140–155. doi:10.1525/fmh.2017.3.1.140. ISSN 2373-7492.
  4. ^ a b c d e f g h i "Rakhshan BaniEtemad." Firouzan Films. 2011. 3 May 2012
  5. ^ a b "مرور کارنامه رخشان بنی اعتماد، مترجم دردها". www.bartarinha.ir. Retrieved 2021-12-07.
  6. ^ a b c Alissa Simon. "Interview with Rakhshan Banietemad." Archived 2012-07-29 at archive.today Facets. 3 May 2012.
  7. ^ "International competition of feature films". Venice. Archived from the original on 6 October 2014. Retrieved 24 July 2014.
  8. ^ "Venice Film Festival Lineup Announced". Deadline. 24 July 2014. Retrieved 24 July 2014.
  9. ^ a b Whatley, Sheri. "Iranian Women Film Directors: A Clever Activism." Off Our Backs 27.1 (2003): 30-32. JSTOR. McHenry Lib., Santa Cruz, CA. 2 May 2012.
  10. ^ Laurier, Joanne. Walsh, David. "An Interview with Rakhshan Banietemad, co-director of Gilaneh." World Socialist website. 3 Oct. 2005. International Committee of the Fourth International. 4 May 2012.
  11. ^ Moruzzi, Norma Claire. "Women in Iran: Notes on Film and from the Field." Feminist Studies. 27.1(2001): 89-100. JSTOR. McHenry Lib., Santa Cruz, CA. 4 May 2012.
  12. ^ a b "SOAS Honorary Fellows". SOAS.
  13. ^ ".: Iranian Movie DataBase تمام جشنواره های مربوط به :". www.sourehcinema.com. Retrieved 2021-12-01.
  14. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره بين المللي فيلم فجر ـ دوره دهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  15. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره سيزدهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  16. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره بين المللي فيلم فجر ـ دوره سيزدهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  17. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره كانون كارگردان هاي سينماي ايران :". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-01.
  18. ^ "36th Thessaloniki International Film Festival". Retrieved 2021-12-02.
  19. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره شانزدهم :". www.sourehcinema.com. Retrieved 2021-12-02.
  20. ^ "انقلاب اسلامی و تحول در نسل فیلمسازی زنان ایران - ایرنا". 2020-01-14. Archived from the original on 14 January 2020. Retrieved 2021-12-02.
  21. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره دوم :". www.sourehcinema.com. Retrieved 2021-12-02.
  22. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره چهارم :". www.sourehcinema.com. Retrieved 2021-12-02.
  23. ^ "بخش مسابقه‌ی جشنواره‌ی "کارلووی‌واری" امسال بدون سینمای ایران - ایسنا". 2020-01-14. Archived from the original on 14 January 2020. Retrieved 2021-12-02.
  24. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره دفاع مقدس ـ دوره دهم :". 2011-07-07. Archived from the original on 7 July 2011. Retrieved 2021-12-02.
  25. ^ "Mohsen Abdolvahab - Festival des Cinémas d'Asie de Vesoul". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-02.
  26. ^ "Asia Pacific Screen Awards Winners Announced". AsiaPacificScreenAwards.com. Retrieved 2007-11-14.
  27. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره بيست و پنجم :". www.sourehcinema.com. Retrieved 2021-12-02.
  28. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره يازدهم :". www.sourehcinema.com. Retrieved 2021-12-02.
  29. ^ "RFI - خون بازی، بهترین فیلم فستیوال زنان". www1.rfi.fr. Retrieved 2021-12-02.
  30. ^ Vivarelli, Nick (2014-09-06). "'Pigeon' Soars, 'Birdman' Snubbed at Venice Awards". Variety. Retrieved 2021-12-03.
  31. ^ "Rakhshan Banietemad for Tales (Ghesseha) - Asia Pacific Screen Awards". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-03.
  32. ^ "نامزدهای بخشهای اصلی سی و دومین دوره جشنواره فیلم فجر معرفی شدند | خبرگزاری ایلنا". 2020-11-08. Archived from the original on 2020-11-08. Retrieved 2021-12-03.
  33. ^ "نامزدهای هفدهمین جشن خانه سینما اعلام شد". خبرگزاری مهر | اخبار ایران و جهان | Mehr News Agency (in Persian). 2015-08-30. Retrieved 2021-12-03.
  34. ^ "Martin Scorsese, Istvan Szabo to be honoured at Iffi 2021". Times of India. 23 October 2021. Retrieved 31 October 2021.
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