The year’s TOP TEN BEST FILMS, some thoughts

redrose2_iranianfilmdailyDecember marks that perennial assignment among film observers, going over the year that was and choose ten movies for posterity.

What is the state of Iranian cinema today? If this were “Investing in Movies 101” I’d say I’m bearish in 2015. Adopting a wait-and-see attitude is best for now. But, if you’re going to plunk down some cold, hard cash to ramp up your foreign-language cinema catalog Iranian-made product is clearly the top choice: a new Iranian filmmaker is born every day in an Iran that has a lot of young people, and there’s a 40% chance that filmmaker will be a woman. Because of the political factor and a strange wariness currently affecting festival programmers at the moment there are obstacles in the race to make, produce and distribute Iranian films globally. That said, Iranian filmmaking is the most dynamic, genuine and socially-just out there, directors often parlaying universally-relatable narratives into compelling filmmaking that play well to art-house audiences. Sepideh Farsi’s “Red Rose” and Mehran Tamadon’s “Iranien,”…

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