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All along, Iranians living outside their country were probably more aware than any other group of the disparity between the place they knew and many of the films that were being made about it.
Iranian directors are no longer struggling to gain a foot in the door of international competitions.
And the result is a documentary for the ages, encapsulating in one sentence everything that is Iraniancinema: toward the end, talking into the camera, one of the villagers puts it like this: "We may be arrested again for shooting film, but it doesn't matter.
Iranian "auteurs" are lionized by legends of cinema from Godard to Kurosawa and much breathless commentary has been written about a cinematic tradition that flourishes without many of the familiar technical and thematic elements of the cinematic loam.
The New Iranian Film does not conform to the familiar genre of "art-film" either: there is no heavy dredging of the existential depths, no conspicuous consumption of angst.
If the New Iranian Film is to meditate on the host of moral, social, and political questions of Iran, and on the role of the artists in mediating this process, it must do so in peace and with parsimony.
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