 Hello everybody. First of all, I should say hi to everyone. I'm talking to you from upstate New York today And I'm Honoured to introduce one of my old friends When I say old friends, I mean When we were younger, we were the same age. I don't know what happened that he got older and I didn't somehow but Said Said Nuri was born in Tehran. He received his BA and MA both from Tehran and Left Tehran for Paris to study In the field and they're in Paris for a couple of years. He stayed and he studied with the giants of the field Hopefully I'm correct in pronouncing the names as Nicole Brunner and Brunez Yeah, Brunez and Jean Duache for Jean Duchet Duchet. Thank you, Said. And Said primarily is interested in history and understanding of the Iranian cinema particularly before the Revolution of 1979 however, he has done a lot of work on issues related to cinema and movie and Related to after the revolution He has numerous articles. He has 17 Documentary films short films and hopefully we will be able to show one of his film and here one day at Code Pink and He's here and I really appreciate Said Jean You accepted my invitation to come and help us to understand this film and based on Thank you for inviting based on the culture and history and the cinema of Iran so and People who are here and are joining us in this call and mostly have Seen the film before and today we are going to just talk about the film I will start with my own so I have this privilege to start with my own question and as it's recording I would like to mention that it's about the salesman by Asghar Farhad. Yeah, we are talking about this movie Yes, and so my yeah salesman by Asghar Farhad and because Man, it was actually nominated for many prize internationally and got the best actor prize I guess for Shaheba Hussaini the yes and the screenplay Yeah, and the screenplay got the prize. So that's good Yes in in France, I guess and I can't fail and And So it was a praise the film and it's really Many foreign actually audience were really they really liked it And I personally as an with my Iranian American lens I also love the film, but I always when I watch something from Iran something cultural. I think how People who don't know much about Iran they perceive this Film or they're you know, this story and everything so it there are a couple of things that I wanted to just start this conversation with Say John one is Some parts of the film it's very cultural For instance when the teacher shows the film in his classroom We know they are talking about a film cow Which was really famous at the beginning of the revolution got many prize in Iran How and this film cow is related to the whole movie and do American or non Iranian Audience can see some relationship between the film and also the the film cow that it shows at the beginning of course the teacher has some Very brief conversation the student asked how a person can be a cow and the teacher said The years gradually and through of the years can this happen or somewhere in the film It's relate to the city and the guy said this city is ruined. This building is ruined and The other guy says this city or this building have been ruined many times and just stood up again So we who knew Tehran historically we understand that but I always think about it Where in the film and non Iranian? audience can connect these small Points together. Okay, or it is is it important at all if they get these small parts or not We have a story that talks about the reputation privacy security, you know and relation between a couple and We have some subtexts that are related to Iranian culture and There are more local. Let's say And that's what the points that you mentioned, you know For example when you say that the movie cow which was made before the revolution was the Maybe one of the major films that was approved of the revolution So it was an example, you know for Iranian cinema after the revolution to make a movie You know like the films like cow. It's about the peasants You know the people who live in a village, you know and a cow that feeds people but Here in this movie. He's talking about Mostly he's talking about writer the author of the Movie who had written the screenplay and it has been adapted from a short story You know and his name is Saidi Saidi was a leftist And and the position to Shah's regime, you know, who wrote screenplays Plays for the theater and short stories before the revolution and there are About four or five films made of his stories before the revolution, you know and It's you know when I saw the movie today. I saw in parallel there is an An American author Arthur Miller in the movie and the salesman the play and the the theater that they are playing and Saidi as an Iranian author, you know Which is represented in the classroom, you know and the Arthur Miller, which is represented In a theater hall, you know in parallel you can see and you can compare inside these story of the cow Women do not have a major role But in the salesman of Arthur Miller, you know There is a whore in the center of the play and that's where you see a woman Getting out of the bathroom with a monto, you know, where who is covered completely But she says I'm naked. How could I get out of the house? Undressed you are talking about this And they start to laugh Here as far as I think wants to talk about censorship, you know and to say We cannot show a woman naked. We cannot show a woman undressed and that's why if you see The woman which plays in my film Is with this car all the time. It's the censorship that says that she must wear You know like this In in his in her own house, you know and that's why that Saidi was censored before the revolution, you know and after the revolution, you know We have women who cannot show themselves as they are and they have to you know Accept and obey the law that tells them, you know, how to cover themselves for the movies Interesting So basically you are saying some of these scenes that we saw for example in the theater It was for making it clear for the non-Iranian audience and that We have to deal with some of the rules and regulations of making it Exactly Another very Interesting part going back to this also is what I saw As a woman myself that In the film in this story a woman's body was attacked But because of you know, she was ashamed or she didn't want to talk about it She didn't want to go and report it to the police And I saw a man who is frustrated and trying to find a way to defend his Wife or his or the body of another woman. I these are some Complication I guess to me at least you know, you know, you know here in our culture There have there has always been something named reputation What we say in Iranian aberu, you know reputation and You know, it's it's a taboo to talk about what happened to your body as a woman You know, and that's why the woman says that he she doesn't want to express Or recite what happened to her in front of a police You know, or when his husband says that some of the neighbors Took you out of the bathroom. He wants to know who he was If he was a man or he was a woman but Unfortunately for her it has been a man taking her out of the bathroom and She insists on leaving these these apartment Because she thinks that somebody has seen her body naked in the bathroom when She was not, you know awake And that's these are the details that women, you know, the the shame I don't say the shame that they did the protection. Maybe it's the protection that an Iranian woman Is educated, you know to to have In her life and I don't know if Some are against or some are for These kind of education that mothers, you know transfer to their daughters You know and and you say that that this is the man who wants to defend her woman and he wants to find out what happened when he's in the Stir case and one of the neighbors is passing by and says that Mr. Iks took your Wife out of the bathroom he's he's he gazes the woman and Tries to digest what happened to her wife, but he cannot you know, but the woman can exactly switch off This subject after a while, you know After passing by the the harassment the the mental harassment that She cannot go to the bathroom anymore. She cannot Stay alone at home anymore But at the moment she tries to cook again She tries to find herself up, you know, because she sees that she's losing her points He she he she's losing her role in the theater You know and she has to Resist against this and switch it off You know and let it be archived Unsolved That's that's that's the education, you know, that's the education the Iranian education to the women Mm-hmm So you you mentioned before we start this call you mentioned that you saw the film again today Yes, and you were and it was so heavy for me It took a lot of energy Of me because you know, as you know, I'm working And studying the Iranian film history before the revolution and we have 47 years of making movies before the revolution It started fiction filmmaking started in Iran from 1932 and After you buy the revolution in 1979 We had More than 1200 fiction films made You know in these 50 years and when I studied these movies Comparing to what I will see and I see these days in Iranian movies. I see that Iranian life Is much more complicated than before Before the revolution. I mean, yes people were very naive very simple and the social trust Was very high everybody trusted everybody else and they made friends very very easily But now you see that even The husband tries to hide some things from his wife, you know, when he finds the the The truck of the man who wanted to come into the house He brings it to the parking and doesn't say anything to His wife, you know Everybody is surprised Uh, everybody is surprised by the information that that the others Are conveying With themselves and don't talk about it. You know Babak The the character that gives them the apartment He doesn't talk about the past and Oh who who lived in this apartment before and what happened? You know and everybody is surprised because they try to hide from each other the information that can prevent the catastrophe The horrible events. Yeah, and that's the Iranian life today, you know, we we live with the secrets because We think individually. I'm talking individually. I think if I hide So many information from my friends or my wife or The people who live around me. I've been security Which was not this is not what We see in Iranian movies before the revolution, you know, everybody knows everything about The one who is living with yeah, I guess for that in my perspective, there are many probably issues So of course evolution war Like or also, you know international intervening In iran in domestic issues in iran as long as you know, also the Population and Tehran then probably had exactly four million population and today has 12 15 million At the end of 50s, we had at the end of 50s. We had about two million Iranians living in Tehran By the revolution we had four million and half And today we have 12 million people living in this city And when in the movie they say we have to ruin this City and build it again. It's because of the compression, you know, the compact of the population That we have in this city Uh, they all come to Tehran, you know to live Uh, a better life the the immigrate even these two Junges there these two These couple, you know, they have come from a province I saw the movie for the first time in can film festival 2016 And now today when I saw the movie I saw that three minutes of the film has been cut Has been taken out of the movie and it was a sequence that It was the second sequence of the of the movie when they are obliged, you know to evacuate The building they go somewhere, you know in an agent for Mass country leadership in an agent for for fine again for for finding yes to for for finding another Apartment and they do not have enough money and they say that their parents Parents live in the provinces, you know, they have come for a better life in Tehran, but such horrible things Can happen in a cosmopolitan that nobody knows nobody else Yeah, exactly. So, um, you know, I have to I have to explain you something that existed before the revolution And does not exist today We had neighborhoods before the revolution neighborhoods mean mean meant that when we were To the walking in the street everybody says hello to everybody else and everybody knows everybody by the name And by the first name by the family name and the first name and everybody knew that this is the girl of mr X, you know, yeah, but but after the revolution because of the huge tall Sky crepers and the uh, you know, uh towers, you know, we have we have the neighbors that we don't know, you know We have a A character in this movie named ahu. We don't see her But we see the consequences of her life style and it's effect it's effect to to the couple's life Yeah, you know to the to the new ones who come to this house But now you are talking about yeah, exactly. So we don't we don't see her but now you are talking about ahu um, I want to bring um a question that one of our Viewers is asked it says why in many, um Of these um occasions when specifically and mr. Farhad these films he's referring to is um Mostly are the middle class that we see And in this one also and how come most people who understand things and in these dilemmas they are middle class Do you think is that something to consider? Of course, you know, they are educated in theater The the man, you know, uh teaches In a high school. So he is in the middle class of the society, but ahu is not No, but ahu. No, no, we don't know We we know the ambitious things about ahu And it's it's vague. We don't know who she is Everybody says that she has had complicated relations But we don't see her, you know to to judge her by the appearance of how she is You know how she uh wears, you know What he says what she says, you know and how she lives her lifestyle is unknown to us You know, but everybody has some guests, you know about her they they try to judge her You know and afterwards you see that She is maybe a victim That the girl who plays the role of a prostitute In the theater, you know is a mirror Character that you can see there is she is an independent woman, you know wearing the red, you know, monto and she has a Boy of three four year old and we don't know anything about her Either her personal life, but we know that She is in In a complicated situation too, you know, uh, she is ahu too. She is another ahu She is Ahu is the future of this girl maybe We can we can see such things because they're all there are two parallel stories One is going on in the theater and one is in the real world Which is located in Tehran. Yes, exactly Interesting um I have another question here that what is now you are talking about the theater someone else What is the role of the theater in the iranian culture? very important Very important since 150 years ago theater Always had a great role in iranian History and iranian in Among iranian intellectuals. I have to tell you that before the coup d'etat of 1953 In lolezor a place in the Just in the center of Tehran. Yes There were more than 15 theaters And they were all leftists and communists They had come from france. They had come from russia and they tried to represent The the intellectual theater Mixed with the politics Excuse me. When you say they came from france and russia Do you mean the stories the plays or no no no the ones the ones they they were educated in france Oh, the iranians Yes, they had studied theater in france And they had studied theater in russia, you know, they were stanislavsky's students You know From the school of stanislavsky. They were graduated and they were all politicians, you know It's that's why after the coup d'etat of 1953, you know They banned all the serious theaters. They Put them in jail for some years and they repented And they came out and they became the the next generation of the translators in iranian culture And they started to translate the political or the contemporary Novels, you know from english from russian to iranian language to persian to farce Interesting. So you are saying that's why theater has always been a part of intellectualism in iran Interesting, okay, and I have to mention that I knew I knew you in the theater We were in the same play A mid-summer night stream 22 years ago And it was considered political because When everybody searched for the grief days, we were representing a comedy We were reciting a comedy. We tried to give joy to the people Mm-hmm. So you are saying the language of theater in general in iran has been the language of politics So people talk about their Before exactly, but especially before the coup d'etat of 1953 And afterwards it's it's transferred transformed and transferred to the poetry Contemporary poetry and then to the literature and then to the cinema You know in the political language Yes, the intellectuals. Yes, the intellectuals immigrated in another media Interesting, but what happened to theater then after 1953 the modern, you know, when the all of these activists You know for for about For about 15 years. We didn't have anything serious But afterwards the it was a an atelier a workshop place Kargah Nama Yesh Which was the iranian national television who founded a place for those who wanted to experiment theater and that was because of the We had a Festival in shiro's named the festival of arts just known as shiro's and that's where the great theatrical groups like yershi grotowski peter brooke and Others from the west invited. Yes. They were invited to iran and in parallel iranians started to experiment The theater again, but it was not political Well They were experimenting the language of theater, you know as a media of expression But it was not as political as it was because you know, we we are a neighbor to the russia and at that time communism was a danger For iranian government, you know considered as a danger So that was why Whoever wanted to be an opposition became communist Yeah, so thank you. There are a couple of questions about the role of women and men and Like for instance one question is um Was it very difficult for the woman to talk to her husband because she was fearful of him Or what do you think it was happening? No, no, no, no, I talked about the education. You know, it's not the fear You know, it's a part of uh novelty In iranian culture to keep to reserve what is inside you as a woman You know, you see this this is a It's not the the modern education. It's a custom, you know, traditional education of iranian iranian Women, you know, and no, she's she's not afraid of her husband But she does not want to talk about it About her body Yes, about her body and she does not want Either to remember You know, she doesn't want to remember when she starts to recite, you know, she's uh, exactly completely, you know Bulverse, you know set up she she's she's upset when she talks about it It's about her education because she's not from tehran. You have to know that she comes from the provinces And what makes the difference? The difference is the difference between modernity and the tradition You know the tradition So in the provinces people are more traditional than exactly exactly and the education is the education that your mother transfers to you But in the huge cities that you learn everything In the streets, you know You are under the Verbal violence, you know violence Yeah, first of all everybody tries to say some words to you and then they try to Touch you to catch you and you start to defend yourself After a while, you know, because you see you cannot be so You know silent about it, but when you come from the provinces It's a shame to talk about it. That's the difference of the culture of bigger city or Yes, or probably this is kind of Global in many places in the bigger cities people Exactly open to them. Yeah. Yes, but again, there is another question almost the same A subject area that um the gender role in iranian society How you can define it and what do you say about that? I'm very proud to say that the future belongs to women in iran And everybody says the next revolution will be the revolution of women You know, how do you say that not not in the uh traditional way of revolution You know, they have started to change things from the house By working on their parents on their brothers to change their views their Point of views their minds, you know By wearing what how they want to wear in their houses You know by saying what they desire to say By studying the disciplines that they like to follow Mm-hmm, you know and nobody can prevent them of the participating in the society So an art and You have to know that the new generation of men for example me We do give Much more liberty to our women. That's my father gave to my mother You know So because I you have to know that the men are not the same that they were For example 30 years ago Men have changed too and that's why I say women, you know, they can They can't defend themselves by Conversation, you know by talking about their problems When I was a child for example 40 years ago I saw people talking by violence the bodies Talked by violence to each other and even in this movie you see that when two men at the end at the Ending sequence of the movie when two men are talking about a violence against a woman they try to keep calm and talk about it You know and they talk about it But if it was before the revolution One would take out a knife and put it in the body of the You know the the body the the body of the person who had violated His woman Interesting so basically I hear that you are talking about the maturity of a nation Exactly, exactly collective maturity a democracy An informal democracy Through conversation And the the the main subject of ascar farhadi is the main topic of ascar farhadi's movies is You know is talking to each other Instead of instead of reacting with your bodies or your manner try to talk That's why you will see more than 2000 subtitles You know in each movie of ascar farhadi they talk too much Yeah, so there are a lot of conversations in the film. Yes, there are a lot of customers conversation The sometimes that they are Bavarian, you know, they are trying to To to to Represent the logic that they are living with So we get connected to these in characters based on their logics and how they exactly Exactly. This is the maturity in the the the evolution of the society, you know They try everybody tries to communicate through the exact words Interesting so but you say this is in general ascar farhadi's work like in other movies of him Yes, yes Separation yes, exactly Exactly and that's why when we when we talk about the middle class of the society middle class of the society are normally The people who are educated enough to talk about their issues You know not to react and let us discover what he wanted to say. They say it directly directly You know with the words they pronounce it so You say this happens mostly among educated people or middle class people, but we see more violence among on like the economically Just or Yes, we don't see this Yes, yes in proportion, you know, we we we we have more than 40 million people who are educated from the universities Which was Very rare before the revolution, you know, they did not people did not have access to the universities easily, but after the revolution By the azad university Which was founded in each little city, you know, it was a An opportunity for the people to go and be educated, you know and we we must not Neglect the role of the virtual world and the internet Which has spread out Of the country and everybody knows So many things and the satellites, you know, there are more than 2000 satellite channels in the houses So everybody Can uh, you know can can can follow what he desires Yeah, it's you are talking about how it's easier for people to have connection with the outside And basically we are living another period of time another era Yeah, we are in the 21st century and there are some things that you cannot prevent I'm sitting in my apartment, you know talking to you in the states From terra, it was not possible 20 years ago to to have a video talk like this Yeah, of course So side john, we have um almost 20 minutes and I want to give this 20 minutes to you Um Not all of that. I I need the last five minutes, but I want to give it to you to see um What did you think in general about the film itself and are you going, you know, if we were in a different world Are you going to recommend it to more people to watch it and why exactly exactly? You recommended to watch because it shows how human relation is uh fragile these days And every word every act Counts in your destiny You know When a man says when when the man who has who who tempted, you know to to the violence He says I was tempted You know a temptation must may result in your death These days, you know That shows that the the world is very very complicated and you must be enough educated, you know to react In the in a in a good situation and talk enough Of your problem, you know and uh try to resolve your problem By communicating to the others and these are the new ways of communication Because we as the human beings are more complicated than the ones who live on the earth before us you know, uh Today a five-year-old child can You know can do the things with the telephone that I can't do with the 45 years old You know the new generation are coming and the we have to Educate them well You know to for peace and talk peacefully, you know to the others and try to communicate and try to have A resulting conversation to the others And try to eliminate threatening others, you know and trying to trying to Eliminating the violence and the reacting violence Reactions of violence, you know in our manners in our attitudes That's why the psychology these days Has a great role in the movies And if you see the movie Psychologically, you know, you will see that this is a couple Who are very very ready to have a child When you see a child is a guest, you know, they treat I guess give me Um, it is the Connection is lost So while I hope saeed is trying to come back to the conversation I want to announce that next week also at code pink. We have a Very interesting program It is for the august 23rd at 2 p.m. It is a program with the Orchestra chamber orchestra of Tehran and the program basically it's organized by Fatemeh Keshavarz at The university at the college park and with her distinguished guests the ruse Amaritabrizi and Kousal Gohari And we will watch when you join us. We will watch a musical collaboration between These groups and the between the solidarity chamber orchestra of Tehran and singers from the washington dc Based of raw so it is a collaboration between Tehran and washington dc And hopefully we will see you here again. It's the august 23rd at 2 p.m. And um, we will Send you further information as well as you can find more information on our website at code pink dot org So i'm glad to say and to see saeed is back and We are here saeed john Yes, do you see me? Yes, and we hear you Okay I said what I wanted to say is is If you guess yes, I do recommend recommend the movie and the other Iranian movies too, you know Iranian culture is very vast and very How how can I explain it it's because we don't we have so many yes so many tribes in Iran You know, it's it's like a mosaic Culture in Iran and everywhere you can find very surprising Reactions, you know as as you know better than me Iranian people are so receptive, you know To the people who come to their country to visit, you know, they they they help Everybody and that's why I do recommend you to watch more Iranian movies even from before the revolution, you know that that's Let's you compare how This society is trying to uh, you know develop itself Mm-hmm. Yeah. Yes, and so actually, um, this is a series and then we are very honored that you are here with us and This program will be a series of Programs that we are going to invite different people from different art industry or sections including movie and Soon, hopefully we are going to have you again And to talk about your own film Women on the from the men's perspective, I guess if I'm correct with the name and then we will According to men to men and we will send more information to our members and Friends and so we will have you uh later so, um Someone because of you Suggested right now that it is it is good also to see some films Relate to before the revolution before 1979 And so what kind of films you are recommending for us to see And actually my this is a question from one of our friends here, but my Personal question and do they have subtitles those old films? Some of them they have for example the cow you you may be find it With the English subtitles The cow that they they talk yeah this movie the salesman Yes But if you want to see what was happening before the revolution The best way is to watch my film because I watched more than 1000 movies And you will see how women were reflected You know during 50 years in Iranian cinema You know how they were treated how they were written how they were directed You know and and how they reacted You know to the situations In which they were trapped Before the revolution and how they tried to To Through a path to to pass from the tradition to the modernity, you know, which was the politics of the era Of the government. Yes interesting It was interesting to me you Choose the word trapped, but I would personally I would love to see your film and hopefully we will soon and we will Announce the further information about that and date and everything to our members and groups and I don't have any other question and I don't know I see there are I see there are 12 other questions Do you see these questions? And do you see if I see some of them and I guess I Oh, you have asked. Yeah Some of them. Yeah And but is there if there is anything you want to mention about this particular movie or In general in in a very brief basically About the So The cinemas of Askar Farhadi is very important for Iranian culture Of these days Because you know, he has come from the theater. He knows the drama very well And he knows the Iranian mentality very well, you know, and that's why but I I'm not very very for Askar Farhadi cinema because the violence That are shown or Reflected in the movies, you know, it agitates me. It's it's a It's not from maybe his films, but in general, you know, I I do Like the peaceful more peaceful movies, you know, which try to tell you in a very More subtle ways, you know to to Tell their story in a very more subtle ways Askar Farhadi is very fond of Alfred Hitchcock And as you can see in this movie, there are many Suspensions, you know suspension in his movies and It's it's a kind of taking the audience as a hostage And I don't like it, you know Because I talked very much Of the details of his movies. I would like to mention that personally When I see his movies it takes a lot of energy of me and Maybe instead of a little bit entertaining me After finishing the movie I'm a little bit scared to live in my country You know because I see this security Even you you don't have the security even in your apartment And that's not true, you know, I I think personally that's not true You know because I have lived in my country so many years Yes, it can happen, but it's not general Yeah, you know, it cannot happen generally for everybody, you know Mm-hmm You can be you can live a peaceful life in Tehran. You can have many good friends, you know You don't need to hide so much information From the others, you know, that is what his movies suggest Interesting propose I do personally see people Much more Relying We can rely on them much more than what you will see in Asa Farhadis movies They try to provoke each other in his movies You know, for example in this movie you will see the neighbors that everybody tries to provoke the man Against Ahu and against the one who lived Before them in this very apartment But in reality Yes, in reality people are people are a little much much more positive than this You know And that's why there are a little bit differences, you know from what is the reality of Iran It's a movie, you know, he wants to be tense His movie, but the life is not so tense here. Yeah. Yeah, interesting. So I guess that's why I don't leave my country Because I could I had I lived for nine years in France. I could stay there No, I prefer to come back to my country and live among my people Yes, and so I guess um what I hear from you is Basically, yes, this is a film and the characteristic of any film is just exaggerate something into In order to make it interesting. Yeah in order to make an interesting story But at the same time we should remember this is not The whole story of one country of one nation Is exactly what you know, sometimes I have to say this sometimes politicians say, you know Things about Iran or about the rest of the Middle East or other places and try to make that specific place very scary So but that is not the reality even Exactly, but always the very strangest Listen to medias don't ever listen to the newspapers and what they Try to discover the countries and the cultures by yourself, you know, exactly Beautiful. Yeah, you know, when I see the the european films or the american movies, you know I I fall in love To los angeles Maybe in the reality it's not As as well as I see it in the movies, you know, but I fall in love. I I have a very very You know tenderness To the openness of the people american people You know, but the same openness I I see here among the iranian people As I say they are receptive Yeah And I saw exactly the same Uh Manor the same reaction From the french people when I was in france. I had very very good French it depends on us, you know, yeah, it depends on us when we are resentful, you know Uh, it's very our point of view is very different from when we are uh Confronting the issues, you know with a with an openness Of a spree, you know Yeah, yeah, it transfers you some somewhere else All right, and so And the last question I want to ask you um, if you could also um If you could also send us a list of films that you suggest and iranian films and if you can tell me this is I'm my personal interest. I would like to know who is your favorite Do you like then you said you don't like that much as far for these films because of the tension it has and all of these Do you explain which makes sense, but um, I want to know who is your favorite iranian director? Uh, it's obviously from before the revolution Okay, not sir. Ta boy not sir. Ta boy the one who hate uncle Uncle not alone Uh, tranquility in the presence of others Is what is one of his movies? That is based on the side is story You know Not sir. Ta boy is My favorite because he knows iranian the cinematographic language I I saw somebody has asked me if I want to explore some other country and come out of iran, which is the country. It's obviously united the states of america You have to know I love united the states of america because of what He had done With the cinema with the theater and with the culture You know during the last century even, you know, mostly during the last century, I love American movies and I love european movies I leave some years in france, but if I want to live in europe, I prefer to live in paris Because I know they're and I speak french and I have so many frames, you know, and it's Majorly because of the cinematic frances, which is the most The the the most wealthy, let's say Of the archives of the world of the world Interesting I see one I'm sorry. I see one question here that we didn't We didn't get the answer Is someone talked about a prostitution and said is it unusual to have a prostitute? Even unseen as part of a film plot in iran. No, no, you have to know that before the revolution majorly Iranian women were shown as the girls who danced in the bars I mean after the revolution I'm mostly after the revolution. Yes, but after the revolution they were Eliminated from the movies, you know, it is not because We cannot only show them in their real life it's because you know There are other ways to show the movies because the the love Have been changed the censorship has been changed and You have to do in a symbolic way, you know Using the metaphors, you know to say something Even here you see that as far as Takes Arthur Miller as a metaphor, you know a girl coming out of the bathroom Naked but She has everything on that shows that you cannot really show What is the real life of a prostitute these days Interesting it's it's it's not an issue for women either because we have so many female filmmakers By they do not but they do not try to show a prostitute You know in their movies I don't know if there is a shame To show it they have an inside shame and they they are maybe More cautious, you know to be to be afraid of the judges that come afterwards Maybe it depends to the society, you know But you cannot show it in In an obvious way of life Of course But you can't refer to them as this person Yes, the second road And usually it's interesting this one actually we don't have much time But i'm going to say this this this part was I was thinking about the american audience when in the movie They open the door of the The closet the closet door of the you know prostitute woman And we saw a who and we saw a couple of red shoes So I wanted to say probably I don't know if side if i'm drawing tell me for the iranian audience Showing red shoes or you know very those colors screaming It's it's it's very nice. It's a very very good question because After the revolution the colors gradually eliminated from the society Even if a man wears a red shirt, you know, everybody or A yellow trousers everybody tries to know, uh, which Are you a gay man or what is happening to you? Why these colors? Yeah, why not why not for example white or solid or yes, yes or gray You know, why do you want to pronounce yourself? Through the color the color has been eliminated from the society gradually and It's a pity It's a pity because it shows that joy has been eliminated from the society Gradually, you know, but I want to actually Take This word of yours to the beginning of the conversation that you mentioned if there is any revolution I mean evolution that you correctly mentioned is from the women because I was in iran last time in 2018 and while growing up And I learned that I shouldn't have or shouldn't wear We called it a screaming colors like you know red yellow right colors But in 2018 when I was in iran, I saw younger women Or many many different from different ages. They all are wearing Colorful outfits. They are showing it outside and they are more comfortable with these colors It was really interesting. It's it's very recent and you have to know Well I forgot what I wanted to say I guess If I if I'm alone, I want to say probably this is iran is going toward a very good Conditions of life itself Please leave iran to the iranians and let them to make any decision they want to make So any any pressure from outside will destroy this beautiful move and this beautiful evolution So exactly. This is my evolution is gradual and from inside Not from an outside and not by force Yes, exactly. Okay. Perfect. Thank you very much say john You have been perfect Or 3 a.m at your time in tehran We will let you do to 230 a.m And um, I wish you the best so we will have you soon and we will announce it in our website and with further emails to our friends and allies at the code pink and Hopefully we will have you soon again with your film your own film. Yes. Yes. Thank you It's it will be an honor. You know, you will have an ontology of iranian history With your temporary history through my film because I'm fond of history, you know You can see more than 122 excerpts from The movies made before the revolution, you know to how they directed how they You know were Before the revolution how they talked before the revolution and how they Reacted Mm-hmm. Perfect. We cannot wait. Thank you very much. Love you all. Thank you We love you and thank you. Bye. See you soon. Bye. Bye. Bye. Bye.