Around 1900, on a trip to Europe, the Shah of Iran Mozafar al-Din Sah Kayar attended a cinema screening in France and was so impressed that he ordered his photographer to buy a Gaumont camera. From then on he promoted cinema in Iran by commissioning films, opening cinemas and dubbing many French films into Farsi for the enjoyment of Persian audiences.<\/p>\n
This fact clarifies the reason for the numerous productions to which we are accustomed by the directors of this country and their presence in the most elite film festivals, where they are frequently awarded prizes.<\/p>\n
Many European directors such as Theo Angelopoulos, Manoel de Oliveira, Ermanno Olmi, Amos Gitai, Tony Gatlif or Rapha\u00ebl Nadjari have declared themselves fervent admirers of Iranian cinema and films such as\u00a0Kandahar<\/em>,\u00a0Turtles fly too<\/em>,\u00a0Buddha exploded out of shame<\/em>\u00a0o\u00a0Nobody knows anything about Persian cats<\/em>\u00a0have won the recognition of filmmakers and audiences alike.<\/p>\n An example of this is V\u00edctor Erice's admiration for Abbas Kiarostami, which was expressed in the exhibition\u00a0Correspondence<\/em>which reproduced an exchange of letters in audio-visual format between these two cult directors, the most visible face of the so-called New Iranian Cinema.<\/p>\n
![\"Logotipo](\"http:\/\/www.tresculturas.org\/f3c\/wp-content\/uploads\/2015\/10\/Logotipo-Consejeria-cine-noviembre.bmp\")
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