It's one of those ironies of history: a by-product of the clerical revolution in Iran was the emergence of a new wave of Iranian cinema. Kiarostami became the most celebrated auteur in the west, but he was part of a much larger creative and critical community. They view each other’s work at rough-cut stage, they comment on scripts, they suggest actors: there is a strong sense of solidarity. The cinematic language is varied, the interior destiny of each filmmaker is different, but even the self-contained Makhmalbaf family benefits from being part of a larger group. Watching their work one can see the influences that stretch from Rossellini, Fellini and Godard to Kurosawa, Ray and Hou Hsia-hsien. I’ve always regarded one of this group, Jafar Panahi, as the country’s most fearless filmmaker.


