Iranian Cinema

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Post-revolutionary cinema
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Post-revolutionary Iranian cinema has been celebrated in many international forums and festivals for its distinct style, themes, authors, idea of nationhood, and cultural references. Starting With Viva... by Khosrow Sinai and followed by many excellent Iranian directors who emerged in the last few decades, such as Abbas Kiarostami and Jafar Panahi. Kiarostami, who some critics regard as one of the few great directors in the history of cinema,[12] planted Iran firmly on the map of world cinema when he won the Palme d'Or at the Cannes Film Festival for Taste of Cherry in 1997.
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The continuous presence of Iranian films in prestigious international festivals such as Cannes, the Venice Film Festival, and Berlin Film Festival attracted world attention to Iranian masterpieces ., as Iranian films have repeatedly been nominated for or won prestigious prizes at those festivals. In 2006, six Iranian films, with six different styles, represented Iranian cinema at the Berlin Film Festival, and critics considered this a remarkable event in the history of Iranian cinema.
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An important step was taken in 1998 when the Iranian government began to fund ethnic cinema. Since then Iranian Kurdistan has seen the rise of numerous filmmakers. In particular the film industry got momentum in Iranian Kurdistan and the region has seen the emergence of filmmakers such as Bahman Ghobadi, actually the entire Ghobadi family, Ali-Reza Rezai, Khosret Ressoul and many other younger filmmakers
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There is also movie-documentary production, often critical of the society in the name of the islamic revolution ideal, like the films directed by Mohammedreza Eslamloo.
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We must...