Over the weekend of February 15–17, 2019, a symposium of about a dozen scholars convened at the University of Michigan to talk about the changes and challenges facing the field of Iranian Studies forty years after the Revolution of 1978–79. In addition to art, literature,
Farassati also argues that these films tend to be dark in their subject matter and thus provide a bad image of Iran for the West. They reinforce negative beliefs about Iran, which in certain ways can be true. But of course he also knows that many major award-winning films from all over the world have been critical of their own societies and governments. This is what artists do.
Iran has produced one of the world’s greatest national cinemas, stretching back to before the Islamic revolution. The films have won numerous international awards, including the Oscar and the Golden Globe, as well as the Cannes Film Festival’s Golden Palm and Jury Prize, the Venice Film Festival’s Golden and Silver Lion, and the Berlinale’s Golden and Silver Bear. Yet, despite the accolades, Iranian movies are more discussed than seen in the United States.