Sun 28 Feb 2010, 18:00, by Bardia Sa'adi Nejad & Morad Sadeghi, at Visual Arts:=$row['entry_text']?>
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As we promised, we finalize "Iranian Cinema Through the Ages", the first program for our monthly digital screening sessions at "Café Cinema" with SHIRIN, an extraordinary different movie from Abbas Kiarostami! In recent decades Iranian cinema has achieved a global reputation for its poetic qualities, mystical thoughts and novel experimentation in form and style, creating a unique film aesthetic of its own. Long-established Iranian filmmakers such as Abbas Kiarostami, Dariush Mehrjui, Amir Naderi, and Bahram Beyzai, and more recent ones including Mohsen Makhmalbaf, Jafar Panahi, and Bahman Ghobadi, are now screened regularly all over the world at prominent film festivals and in commercial cinemas, their work debated, analyzed and studied by critics, academics and students. Kiarostami's film Shirin, meanwhile,...
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Thu 25 Feb 2010, 19:00, by Manya Saadi-nejad, at Bistro Burritoville:=$row['entry_text']?>
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Anahita is one of the major deities of Iranian Mythology. Aredvi Sura Anahita (Arədvī Sūrā Anāhitā) is her name in the Avestan language; it means "the humid, strong, pure and immaculate one ". Anahita is a pre-Zoroastrian goddess of water, abundance, blessing, fertility, marriage, love, motherhood, birth and victory. She embodied the physical and metaphorical qualities of water. She is also associated with rivers and lakes, as the waters of birth. Many of the surviving temple structures that were dedicated to her are connected with water, and perhaps all sources of water were considered to be her sacred places. She also ruled over semen and human fertility. She was viewed as the "Golden Mother" and as a warrior maiden. Anahita...
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Thu 18 Feb 2010, 19:00, by Bardia Sadi-Nejad , at Bistro Burritoville:=$row['entry_text']?>
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In recent decades Iranian cinema has achieved a global reputation for its poetic qualities,mystical thoughts and novel experimentation in form and style, creating a unique film aesthetic of its own. Long-established Iranian filmmakers such as Abbas Kiarostami, Dariush Mehrjui, Amir Naderi, and Bahram Beyzai, and more recent ones including Mohsen Makhmalbaf, Jafar Panahi, and Bahman Ghobadi, are now screened regularly all over the world at prominent film festivals and in commercial cinemas, their work debated, analyzed and studied by critics, academics and students. Kiarostami's film Shirin, meanwhile, stands apart from this large body of work. In this, perhaps his most under-appreciated film, Kiarostami has attempted something unique and unprecedented: to adapt a masterpiece of classical Persian poetry from the twelfth century to the screen. Not surprisingly, it has never been nominated for an...
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