No one could stop the problems of General Mir Soleimani with his wife. Even the family attorney did not succeed in making it right. Now it seems that for General's sins, his son should suffer on his way to loving and living...
Born in Tehran in 1940, Dariush Mehrjui is one of the key figures in the formation of New Iranian Cinema. Graduated in philosophy from UCLA, Mehrjui began his film career by directing DIAMOND 33 in 1967 after his return to Iran. Then he directed THE COW, one of the milestones of Iranian cinema history, which gained much critical attention domestically and internationally, especially in Venice and Chicago. In early nineties, very popular, highly – acclaimed HAMOON marked a successful turning point in his career. Among the international awards won by his films, one can mention Venice FIPRESCI Prize and Chicago Best Actor Award for THE COW, Berlin Jury Golden Plaque and Ecumenical Award for THE POSTMAN, Paris Grand Prix, Prague FIPRESCI Prize and Berlin Ecumenical Award for THE CYCLE, San Sebastian Best Film and Best Actress awards for SARA and Chicago Silver Hugo for THE PEAR TREE.
Feature Films: 1967-DIAMOND 33; 1969-THE COW; 1972-THE POSTMAN; 1978-THE CYCLE; 1980-THE SCHOOL WE WENT TO; 1986-THE LODGERS; 1987-SHIRAK; 1990-HAMOON; 1992-BANOO; 1993-SARA; 1995-PARI; 1997-LEILA; 1998-THE PEAR TREE; 2000-MIX; THE TALES OF ISLAND (“LOST COUSIN” Episode); 2002-BEMANI; 2004-MAMA’S GUEST; 2007- SANTOURI, THE MUSICIAN; 2010- TEHRAN TEHRAN; 2011- BELOVED SKY; 2012- THE ORANGE SUIT; 2013- GOOD TO BE BACK; 2014- APPARITION.
As soon as I started the preproduction of APPARITION, I began reading funny news and essays claiming that I was going back to trends of my films in past decades once again. But would it be possible for an artist to go back? What does it mean? Obviously it is in conflict with the essence of art. Just read the works of great literary figures. You will see that due to their moods and of course social and political situations, each time they have created a different work. Shakespeare sometimes writes comedies and sometimes dramas. What did he do after HAMLET? It is also the way everything goes on in music and poetry. Here I was fortunate to work again with the cinematographer Mahmoud Kalari who did his best to present one of the unforgettable, nostalgic and velvet black and white pictures of our times. Besides adapting the play into Iranian Society, I was working on one of the Ibsen’s works which is packed with the dialogues.