Homayoun Asadian, Director General of the Iranian House of Cinema, met with Pierre Cosher, the French Ambassador to Tehran, during the 'Nouvelle Vague' session in Tehran. During this meeting, the possibility of expanding cultural cooperation and organizing joint film programs was discussed.
During the meeting on Wednesday, Asadian expressed his pleasure at the ambassador's visit to the headquarters of this professional institution, which organizes various cultural events. He mentioned that everyone is familiar with the French New Wave, including directors such as Godard and Truffaut, as well as works like 'Breathless.'
Referring to the historical significance of the French New Wave, Asadian emphasized that it is one of the peaks of cinematic history and an influential movement in world cinema. He stated that holding programs like 'Dialogism' and studying materials about the French New Wave helps to increase cinematic knowledge and strengthen cultural ties between nations.
He presented the structure and responsibilities of the institution, explaining that the Iranian House of Cinema oversees 33 professional guilds, managing guild-related affairs and insurance matters for their members. In addition to professional activities, the institution organizes diverse cultural events. Weekly documentary screenings are held, and the Screenwriters Guild organizes script analysis programs. Furthermore, as part of social responsibility, various events are held, such as a performance dedicated to the Minab school tragedy earlier this year.
Commenting on the differences between American and European cinema regarding narrative and character development, Asadian added that American cinema usually depicts the world in a binary opposition of good and evil and rarely delves into the grey areas of character and situation. Conversely, in European cinema, the boundaries between good and evil are not clearly defined.
He also spoke about the history of French filmmakers in Iran, noting that Albert Lamorisse directed the documentary 'Wind of Lovers' in Iran before tragically passing away due to an incident in the country.
Speaking about the state of Iranian cinema, Asadian noted that last year's outbreak of war led to some decline in Iranian cinema. In the current situation, which is neither war nor peace, investing in any activity, including cinema, faces difficulties. Nevertheless, screening conditions have improved, and some films have achieved good box office returns. In times like these, it is crucial to gather and engage in dialogue, and this should be a priority.
Asadian concluded his presentation by mentioning his studies at the Institute of Intellectual Development of Children and Youth (Kanun), where the study and viewing of works by directors such as Jacques Tati and Robert Bresson were always central themes.
Following this, Pierre Cosher stated that the French Embassy is ready to cooperate with the Iranian House of Cinema in implementing cultural programs. He suggested that if opportunities arise, they could organize programs virtually in collaboration with French experts. The ambassador expressed hope for creating a structure that allows civil society organizations to expand their cultural connections.
Reflecting on his experience in Iran, the ambassador added that about thirty years ago, during the presidency of Hashemi Rafsanjani, he worked at the French Embassy in Iran and holds warm memories of that era. He noted that he returned to Iran a year and a half ago.
Regarding the state of Iranian cinema, Cosher observed that Iranian cinema is well known in France. He and France share similarities in supporting independent cinema, as both countries follow somewhat similar systems.
Mentioning France's support for independent films, the ambassador noted that the French film industry resists 'American influence.' There is also a union across Europe dedicated to supporting independent European cinema. Independent cinema holds a special place in Europe, and figures like Woody Allen have also succeeded there.
Finally, mentioning the importance of performing arts in Iran, Cosher said that theater also has a significant presence in Iran, and people show great interest in this art form.
In the concluding part of the meeting, Bahman Namvar Motlagh, a scholar and professor, commented on the status of French cinema, stating that it possesses a unique character. The central theme of the programs they organize is 'Dialogism,' and they intend to spread this approach into Iranian cinema.
The third session of the 'Dialogism in World Cinema' cycle, dedicated to the French New Wave, took place at the Iranian House of Cinema in Tehran. Attendees included Ruhollah Hosseini, Deputy for Technological Development and Cinematographic Studies of the Film Organization, and Farzad Motamen, a film director.
At the beginning of the session, Maysam Yazdi, the program's scientific secretary, announced that the third program of the 'Dialogism in World Cinema' cycle, organized jointly with the Iranian Association for Comparative Studies of Art and Literature, was dedicated to the French New Wave.
Referencing Richard Linklater's film 'New Wave,' she added that this work by the American filmmaker was one of the notable entries at the Cannes Film Festival in 2025. This film provides an opportunity for dialogue between American and French cinema.
During the session, excerpts from Richard Linklater's film 'New Wave' were shown to the attendees. Maysam Yazdi, emphasizing the educational value of Linklater's 'New Wave,' noted that this film is a textbook with many nuances and details that can be useful to film students. She also mentioned that Jean-Luc Godard passed away in September 2022, and Linklater's film is a frame-by-frame reconstruction of segments from Godard's 'Breathless.'
Farzad Motamen, discussing the production costs and conditions of making 'Breathless,' reported that the film was shot with a budget of 400,000 francs, equivalent to $80,000. Given current exchange rates, this amount would be approximately $876,000 today—which is not a very large sum for film production. The film was shot in just 22 days. As François Truffaut once said, 'Breathless' divided cinema into 'before' and 'after.'
Later in the session, Ruhollah Hosseini discussed the stylistic features of the French New Wave, stating that it is usually recognizable by characteristics such as handheld street shooting, low production costs, improvised or semi-improvised dialogue, jump cuts, and similar elements. However, the New Wave absorbed these stylistic traits through a series of dialogues with various other fields. Essentially, these stylistic characteristics are the result of the 'dialogism' form.
