Page 5 - (کیهان لندن - سال سى و سوم ـ شماره ۲۷ (دوره جديد

‫ﺻﻔﺤﻪ ‪ 5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪27‬‬
‫ﺟﻤﻌﻪ ‪ 25‬ﺳﭙﺘﺎﻣﺒﺮ ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 1‬ﺍﻛﺘﺒﺮ ‪2015‬‬

‫ﻧﻤﺎﻳﺶ ﻋﻜﺲ ﻫﺎﻯ ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ ﺩﺭ ﺑﺮﻟﻴﻦ‬ ‫ﭘﺎﻳﺎﻥ ﺟﺸﻨﻮﺍﺭﻩ ﺟﻬﺎﻧﻰ ﻓﻴﻠﻢ ﺗﻮﺭﻧﺘﻮ‬

‫ﮔﺎﻡ ﻫﺎﻯ ﻧﺨﺴﺖ ﻳﻚ ﺗﺠﺮﺑﻪﮔﺮﺍ‬ ‫ﻣﺮگ ﻓﻴﻠﻤﺴﺎﺯ ﺟﻮﺍﻥ ﻟﻬﺴﺘﺎﻧﻰ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢﺍﺵ!‬

‫ﻛﺮﺩ‪.‬ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ ﺑﻴﺸﺘﺮ ﺑﻪ ﻭﺍﺳﻄﻪ‬ ‫ﺁﺯﺍﺩﻩﻛﺮﻳﻤﻰ‪،‬ﻋﻠﻰﺍﺷﺘﻴﺎﻕ‪-‬ﻣﺠﻤﻮﻋﻪ‬ ‫ﻛﺮﺩﻡ ﻭ ﺍﻣﻴﺪﻭﺍﺭ ﺑﻮﺩﻡ ﻛﻪ ﭘﺪﻳﺪﻩﺍﻯ ﭼﻮﻥ‬ ‫ﻋﺎﺭﻑ ﻣﺤﻤﺪﻯ‪ -‬ﭼﻬﻠﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩ‬
‫ﺗﺠﺮﺑﻪﮔﺮﺍﻳﻰﺍﺵ ﺩﺭ ﻫﻨﺮ ﻋﻜﺎﺳﻰ ﺷﻨﺎﺧﺘﻪ‬ ‫ﻋﻜﺲ »ﻗﺪﻡﻫﺎﻯ ﺍﻭﻟﻴﻪ« ﺍﺛﺮ ﺻﺎﺩﻕ‬ ‫ﺟﻬﺎﻧﻰ ﻓﻴﻠﻢ ﺗﻮﺭﻧﺘﻮ ﻛﻪ ﺭﻭﺯ ‪ 10‬ﺳﭙﺘﺎﻣﺒﺮ‬
‫ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ ﺭﺍ ﺷﺎﻳﺪ ﺑﺘﻮﺍﻥ‬ ‫ﺗﻴﺮﺍﻓﻜﻦ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﻓﺴﺘﻴﻮﺍﻝ ﺳﺎﻻﻧﻪ‬ ‫ﺍﺻﻐﺮ ﻓﺮﻫﺎﺩﻯ ﻭ ﺁﺛﺎﺭ ﺧﻮﺑﺶ ﻛﭙﻰ ﻧﺸﻮﻧﺪ‬ ‫ﺩﺭ ﻛﻼﻥﺷﻬﺮ ﺗﻮﺭﻧﺘﻮ ﻭ ﺑﺎ ﺷﻜﻮﻩ ﻭ ﺗﺠﻤﻞ‬
‫ﺑﻨﻴﺎﻥﮔﺬﺍﺭ ﻓﺘﻮﻛﻮﻻژ ﻳﺎ ﻓﺘﻮﻣﻮﻧﺘﺎژ ﺩﺭ ﻫﻨﺮ‬ ‫ﻫﻨﺮ ﺑﺮﻟﻴﻦ ﺍﺯ ‪ 18‬ﺳﭙﺘﺎﻣﺒﺮ ﺗﺎ ‪ 2‬ﺍﻛﺘﺒﺮ ﺩﺭ‬ ‫ﻫﺮ ﺳﺎﻟﻪ ﺍﻏﺎﺯ ﺷﺪﻩ ﺑﻮﺩ ﺭﻭﺯ ﻳﻚﺷﻨﺒﻪ ‪20‬‬
‫ﻋﻜﺎﺳﻰ ﺍﻳﺮﺍﻥ ﺩﺍﻧﺴﺖ ﻛﻪ ﺑﺎ ﺑﻬﺮﻩﮔﻴﺮﻯ ﺍﺯ‬ ‫ﮔﺎﻟﺮﻯ »ﻋﻜﺲ‪ «ax‬ﺑﻪ ﻧﻤﺎﻳﺶ ﻫﻤﮕﺎﻧﻰ‬ ‫ﺑﻠﻜﻪ ﺑﻴﺸﺘﺮ ﺩﺭ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﭘﺪﻳﺪﺍﺭ‬ ‫ﺳﭙﺘﺎﻣﺒﺮ ﭘﺲ ﺍﺯ ﻧﻤﺎﻳﺶ ﺑﻴﺶ ﺍﺯ ﺳﻴﺼﺪ‬
‫ﻧﺸﺎﻧﻪﻫﺎﻯﺑﻮﻣﻰﻭﻓﺮﻫﻨﮕﻰﺍﻳﺮﺍﻥ‪،‬ﮔﺬﺷﺘﻪ‬ ‫ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺭﻭﺯ ﺟﻤﻌﻪ ‪18‬‬ ‫ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ ﻭ ﺑﻠﻨﺪ ﺩﺭ ژﺍﻧﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ‬
‫ﺳﭙﺘﺎﻣﺒﺮ ﺩﺭ ﺑﺎﺯﮔﺸﺎﻳﻰ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺍﺯ‬ ‫ﺷﻮﻧﺪ ﺗﺎ ﺳﻴﻨﻤﺎﻯ ﻛﻬﻨﻪﻛﺎﺭ ﺍﻳﺮﺍﻥ ﺟﺎﻥ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﻭ ﻣﺴﺘﻨﺪ ﺑﻪ ﻛﺎﺭ ﺧﻮﺩ ﭘﺎﻳﺎﻥ ﺩﺍﺩ‪.‬‬
‫ﺭﺍ ﺑﻪ ﺯﻣﺎﻥ ﺣﺎﻝ ﻣﺘﺼﻞ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻛﺘﺎﺏ ﻣﺠﻤﻮﻋﻪ ﺁﺛﺎﺭ ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ ﺑﺎ‬ ‫ﭘﺎﻳﺎﻥ ﻓﺴﺘﻴﻮﺍﻝ ﺍﻣﺴﺎﻝ ﺍﻣﺎ ﺑﺎ ﻳﻚ‬
‫ﭘﺮﺳﭙﻮﻟﻴﺲ‪ ،‬ﭼﻐﺎﺯﻧﻴﻞ‪ ،‬ﺳﺮﺑﺎﺯﺍﻥ‪،‬‬ ‫ﻋﻨﻮﺍﻥ»ﺗﺎﺭﻳﺦﺁﻳﻨﺪﻩ«ﻧﻴﺰﺭﻭﻧﻤﺎﻳﻰﮔﺮﺩﻳﺪ‪.‬‬ ‫ﺩﻭﺑﺎﺭﻩﺍﻯ ﺑﮕﻴﺮﺩ‪.‬‬ ‫ﺗﺮﺍژﺩﻯ ﻫﻤﺮﺍﻩ ﺷﺪ ﻭ ﺁﻥ ﻫﻢ ﺧﺒﺮ‬
‫ﻋﺎﺷﻮﺭﺍ‪ ،‬ﻣﺮﺩ ﺍﻳﺮﺍﻧﻰ‪ ،‬ﺩﻳﻮﺍﺭﻫﺎﻯ ﺧﺎﻟﻰ‬ ‫ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ ﺩﺭ ﺗﻴﺮﻣﺎﻩ ‪1344‬‬ ‫ﻣﺮگ ﻣﺎﺭﺳﻴﻦ ﻭﺭﻭﻧﺎ ﻓﻴﻠﻤﺴﺎﺯ ‪ 42‬ﺳﺎﻟﻪ‬
‫ﺗﻬﺮﺍﻥ‪ ،‬ﺭﺍﺯ ﻛﻠﻤﺎﺕ ﻭ ﺯﻭﺭﺧﺎﻧﻪ ﺍﺯ‬ ‫ﺧﻮﺭﺷﻴﺪﻯ ﺍﺯ ﭘﺪﺭ ﻭ ﻣﺎﺩﺭ ﺍﻳﺮﺍﻧﻰ ﺩﺭ‬ ‫ﺩﺭﺑﺎﺭﻩ ﺍﻳﺮﺍﻥ ﻧﻴﺰ ﻓﻴﻠﻢ ﺩﺭ ﺍﻳﻦ ﻓﺴﺘﻴﻮﺍﻝ‬ ‫ﻟﻬﺴﺘﺎﻧﻰ ﺑﻮﺩ ﻛﻪ ﺷﺐ ﻧﻤﺎﻳﺶ ﺁﺧﺮﻳﻦ‬
‫ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺗﻴﺮﺍﻓﻜﻦ‬ ‫ﻛﺮﺑﻼ ﺩﺭ ﻛﺸﻮﺭ ﻋﺮﺍﻕ ﻣﺘﻮﻟﺪ ﺷﺪ‪ .‬ﻭﻯ‬ ‫ﻓﻴﻠﻢﺍﺵ ﺩﻣﻮﻥ ﺗﺒﺪﻳﻞ ﺑﻪ ﺷﺐ ﻳﺎﺩﺑﻮﺩﺵ‬
‫ﻫﺴﺘﻨﺪ ﻛﻪ ﺑﺎ ﭼﻴﺪﻣﺎﻥ ﻋﻨﺎﺻﺮ ﺩﻳﺪﺍﺭﻯ‬ ‫ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪ 1369‬ﺩﺭ ﺭﺷﺘﻪ ﻋﻜﺎﺳﻰ ﺍﺯ‬ ‫ﻭﺟﻮﺩ ﺩﺍﺷﺖ‪ .‬ﻓﻴﻠﻢ ﺑﺎﺑﺎ ﺟﻮﻥ ﺳﺎﺧﺘﻪ ﻳﻮﺍﻝ‬ ‫ﺩﺭ ﺟﺸﻨﻮﺍﺭﻩ ﺗﻮﺭﻧﺘﻮ ﺷﺪ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﺁﻧﭽﻪ‬
‫ﺩﺭ ﻛﻨﺎﺭ ﻫﻢ ﻳﻚ ﺑﺎﻓﺖ ﺩﻳﺪﺍﺭﻯ ﺗﺎﺯﻩ ﺩﺭ‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺗﻬﺮﺍﻥ ﻓﺎﺭﻍﺍﻟﺘﺤﺼﻴﻞ ﺷﺪﻩ ﺑﻮﺩ‬ ‫ﻧﻘﻞ ﺷﺪ ﺟﺴﺪ ﺍﻭ ﺑﻪ ﻃﻮﺭ ﻧﺎﮔﻬﺎﻧﻰ ﺩﺭ‬
‫ﻋﻜﺲ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻩﺍﻧﺪ‪ .‬ﺗﻴﺮﺍﻓﻜﻦ ﺍﻏﻠﺐ ﺩﺭ‬ ‫ﺑﻪ ﺩﻟﻴﻞ ﺍﺑﺘﻼ ﺑﻪ ﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ ﺩﺭ ‪19‬‬ ‫ﺩﻟﺸﺎﺩ ﺍﺯ ﻛﺸﻮﺭ ﺍﺳﺮﺍﺋﻴﻞ ﻗﺼﺪ ﺩﺍﺭﺩ ﺗﻀﺎﺩ‬ ‫ﻫﺘﻠﻰ ﺩﺭ ﻳﻜﻰ ﺍﺯ ﺷﻬﺮﻫﺎﻯ ﻟﻬﺴﺘﺎﻥ‬
‫ﻋﻜﺲﻫﺎﻯ ﺧﻮﺩ ﺣﻀﻮﺭ ﺩﺍﺷﺖ ﻭ ﻳﻜﻰ‬ ‫ﺍﺭﺩﻳﺒﻬﺸﺖ ‪1392‬ﺩﺭ ﺳﻦ ‪ 47‬ﺳﺎﻟﮕﻰ‬ ‫ﻭ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺣﻀﻮﺭﺵ ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ‬
‫ﺍﺯ ﺷﺨﺼﻴﺖﻫﺎ ﻭ ﺍﺟﺰﺍﻯ ﺗﺼﻮﻳﺮ ﺑﻮﺩ‪.‬‬ ‫ﺩﺭ ﺗﻮﺭﻧﺘﻮ ﺩﺭ ﻛﺸﻮﺭ ﻛﺎﻧﺎﺩﺍ ﺩﺭﮔﺬﺷﺖ‪.‬‬ ‫ﻧﺴﻞﻫﺎ ﺭﺍ ﺍﻳﻦ ﺑﺎﺭ ﺩﺭ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ ﻣﻬﺎﺟﺮ‬ ‫ﻓﻴﻠﻤﻰ ﺩﺭ ﺁﻥ ﺷﻬﺮ ﻛﺸﻒ ﺷﺪ‪ .‬ﻓﻴﻠﻢ‬
‫ﺿﻤﻦ ﺍﻳﻨﻜﻪ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺷﻴﺎ ﻭ ﺍﺟﺴﺎﻣﻰ‬ ‫ﭘﻴﻜﺮ ﺍﻭ ﭘﺲ ﺍﺯ ﺍﻧﺘﻘﺎﻝ ﺑﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺷﻬﺮ‬ ‫ﺩﻣﻮﻥ ﺑﺮ ﺍﺳﺎﺱ ﻳﻚ ﺩﺍﺳﺘﺎﻥ ﻓﻮﻟﻜﻠﻮﺭ‬
‫ﺑﺎ ﻫﻮﻳﺖ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﻋﻜﺲﻫﺎﻯ ﻭﻯ‬ ‫ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﺍﺳﺮﺍﻳﻴﻞ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﺪ‪ .‬ﻳﻚ‬ ‫ﻳﻬﻮﺩﻯ ﺩﺭ ﺭﻭﺡ ﺳﺮﮔﺮﺩﺍﻥ ﻣﺮﺩﻯ ﺍﺳﺖ‬
‫ﺭﻯ ﺑﻪ ﺧﺎﻙ ﺳﭙﺮﺩﻩ ﺷﺪ‪.‬‬ ‫ﻛﻪ ﺩﺭ ﺟﺴﺘﺠﻮﻯ ﻛﺎﻟﺒﺪﻯ ﺑﺮﺍﻯ ﺣﻠﻮﻝ‬
‫ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ‬ ‫ﺍﮔﺮ ﭼﻪ ﺻﺎﺩﻕ ﺗﻴﺮﺍﻓﻜﻦ ﺑﺎ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻣﺰﺭﻋﻪ ﭘﺮﻭﺭﺵ ﺑﻮﻗﻠﻤﻮﻥ ﻭ ﭘﺪﺭ ﻟﺠﻮﺝ ﻭ‬ ‫ﺍﺳﺖ‪ .‬ﮔﻮﻳﺎ ﺍﻳﻦ ﻓﻴﻠﻤﺴﺎﺯ ﺟﻮﺍﻥ ﺑﺎ ﺗﻢ‬
‫ﺗﺮﺟﻴﻊﺑﻨﺪ ﺟﺪﺍﻳﻰﻧﺎﭘﺬﻳﺮ ﺁﺛﺎﺭﺵ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﻓﺘﻮﻛﻮﻻژ ﻭ ﻋﻨﺎﺻﺮ ﻧﻤﺎﺩﻳﻦ ﺩﺭ ﻋﻜﺎﺳﻰ‬ ‫ﻣﺮگ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﭘﺎﻳﺎﻥ ﺯﻧﺪﮔﻰ ﺧﻮﺩﺵ‬
‫ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﻟﻨﮓ ﺣﻤﺎﻡ‪ ،‬ﺩﺷﻨﻪ‪،‬‬ ‫ﺷﻨﺎﺧﺘﻪ ﻣﻰ ﺷﻮﺩ‪ ،‬ﻭﻟﻰ ﺍﻳﻦ ﺑﺎﺭ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﻳﻚ ﺩﻧﺪﻩ ﻛﻪ ﻣﻰﺧﻮﺍﻫﺪ ﭘﺴﺮ ﻧﻮﺟﻮﺍﻥﺍﺵ‬
‫ﺯﻭﺭﺧﺎﻧﻪ‪ ،‬ﺧﻂ‪ ،‬ﺷﻴﺮ ﻭ ﺧﻮﺭﺷﻴﺪ‪ ،‬ﺳﺮﺑﺎﺯﺍﻥ‬ ‫ﻋﻜﺲﻫﺎﻯ ﻭﻯ‪ ،‬ﻣﺠﻤﻮﻋﻪﺍﻯ ﺍﺯ ﻧﺨﺴﺘﻴﻦ‬ ‫ﺭﺍ ﭘﻴﺶﺑﻴﻨﻰ ﻛﺮﺩﻩ ﺑﻮﺩ‪.‬‬
‫ﻫﺨﺎﻣﻨﺸﻰ‪ ،‬ﺑﺪﻥ ﺍﻧﺴﺎﻥ ﻭ ﭼﻬﺮﻩ ﻣﺮﺩﻣﺎﻥ‬ ‫ﭘﺎ ﺟﺎﻯ ﭘﺎﻯ ﭘﺪﺭ ﮔﺬﺍﺷﺘﻪ ﻭ ﻣﺰﺭﻋﻪ ﺭﺍ‬ ‫ﺍﻣﺴﺎﻝ ﭘﺎﻧﺰﺩﻫﻤﻴﻦ ﺳﺎﻟﻰ ﺑﻮﺩ ﻛﻪ ﺩﺭ‬
‫ﻣﻌﻤﻮﻟﻰ‪.‬ﺗﻴﺮﺍﻓﻜﻦ ﺍﺯ ﻋﻜﺎﺳﻰ ﻣﺴﺘﻨﺪ ﻭ‬ ‫ﺗﺠﺮﺑﻪﻫﺎﻯ ﺍﻭ ﺩﺭ ﻋﻜﺎﺳﻰ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺗﻮﺭﻧﺘﻮ ﺣﻀﻮﺭ ﭘﻴﺪﺍ ﻣﻰ ﻛﺮﺩﻡ ﻭ‬
‫ﻭﺍﻗﻊﮔﺮﺍ ﺗﺎ ﻋﻜﺎﺳﻰ‪ -‬ﻃﺮﺍﺣﻰ ﻭ ﭼﻴﺪﻣﺎﻥ‬ ‫ﻣﺠﻤﻮﻋﻪ ﻋﻜﺲ »ﻗﺪﻡﻫﺎﻯ ﺍﻭﻟﻴﻪ«‬ ‫ﺍﺩﺍﺭﻩ ﻛﻨﺪ ﺍﻣﺎ ﭘﺴﺮ ﻫﻴﭻ ﻋﻼﻗﻪﺍﻯ ﺑﻪ‬ ‫ﺍﮔﺮﭼﻪ ﺩﻳﺪﻥ ﺑﻴﺶ ﺍﺯ ﺳﻴﺼﺪ ﻓﻴﻠﻢ ﺑﺮﺍﻯ‬
‫ﭘﻴﺶ ﺭﻓﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﻭ ﻫﻨﺮﻫﺎﻯ ﺩﻳﮕﺮﻯ‬ ‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻦ ﻧﻴﺰ ﺩﺭ ﮔﺎﻟﺮﻯ »ﻫﻤﺎ« ﻭ‬ ‫ﻫﻴﭻ ﻣﻨﺘﻘﺪ ﻭ ﻧﻮﻳﺴﻨﺪﻩ ﺳﻴﻨﻤﺎﻳﻰ ﻣﻤﻜﻦ‬
‫ﭼﻮﻥ ﺗﺌﺎﺗﺮ ﻋﺮﻭﺳﻜﻰ‪ ،‬ﻓﻴﻠﻢﺳﺎﺯﻯ‬ ‫ﮔﺎﻟﺮﻯ ﺧﺎﻧﻪ ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻳﺮﺍﻥ ﺩﺭ ﻣﻌﺮﺽ‬ ‫ﺧﺒﺮ ﻣﺮگ ﻣﺎﺭﺳﻴﻦ ﻭﺭﻭﻧﺎ ﻓﺴﺘﻴﻮﺍﻝ ﺭﺍ ﺩﺭ ﺑﻬﺖ ﻓﺮﻭ ﺑﺮﺩ‬ ‫ﺍﻳﻦ ﻛﺎﺭ ﻧﺪﺍﺭﺩ ﻭ ﺍﺳﺘﻌﺪﺍﺩ ﻓﻮﻕﺍﻟﻌﺎﺩﻩﺍﻯ‬ ‫ﻧﻴﺴﺖ ﺍﻣﺎ ﻫﺮ ﻛﺴﻰ ﺑﺮ ﺍﺳﺎﺱ ﺗﺠﺮﺑﻪ ﻭ‬
‫ﻭ ﻣﺴﺘﻨﺪﺳﺎﺯﻯ ﺭﺍ ﻫﻢ ﺗﺠﺮﺑﻪ ﻛﺮﺩ‪.‬‬ ‫ﺗﻤﺎﺷﺎ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪﺍﻧﺪ‪ .‬ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬ ‫ﺩﺭ ﺍﺧﺘﺮﺍﻉ ﻣﺎﺷﻴﻦﺁﻻﺕ ﺩﺍﺭﺩ‪ .‬ﭘﺪﺭ ﺭﺍ‬ ‫ﺷﻨﺎﺧﺘﻰ ﻛﻪ ﺍﺯ ﻓﻴﻠﻢ ﻳﺎ ﻓﻴﻠﻤﺴﺎﺯ ﺧﺎﺻﻰ‬
‫ﺑﻨﻴﺎﺩ ﺗﻴﺮﺍﻓﻜﻦ ﺩﺭ ﺳﺎﻝ ﺟﺎﺭﻯ‪ ،‬ﺍﺣﺪﺍﺙ‬ ‫ﺣﺎﻭﻯ ﻋﻜﺲﻫﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺑﺮﺍﺩﺭ‬ ‫ﺩﺍﺭﺩ ﺑﻪ ﺩﻳﺪﻥ ﺗﻌﺪﺍﺩ ﺯﻳﺎﺩﻯ ﺍﺯ ﻓﻴﻠﻢﻫﺎ‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﻣﻮﺯﻩ ﻭ ﮔﺎﻟﺮﻯ ﺗﻴﺮﺍﻓﻜﻦ ﺭﺍ ﺁﻏﺎﺯ‬ ‫ﻋﻜﺎﺱ ﭘﺲ ﺍﺯ ﻣﺮگ ﻭﻯ ﺩﺭ ﺁﺭﺷﻴﻮ ﺍﻭ‬ ‫ﺑﻴﻜﺎﺭ ﺯﻳﺎﺩﻯ ﺩﺭﮔﻴﺮ ﮔﻨﮓﻫﺎﻯ ﺧﻴﺎﺑﺎﻧﻰ‬ ‫ﺭﺍﺑﻄﻪ ﺭﺍ ﺑﻪ ﻫﻢ ﻣﻰﺯﻧﺪ‪ .‬ﻓﻴﻠﻢﺳﺎﺯ ﺑﺎ ﺗﻜﺮﺍﺭ‬ ‫ﻣﻰﺗﻮﺍﻥ ﻧﻤﺎﺩ ﺳﻨﺖﻫﺎﻯ ﻛﻬﻨﻪ ﺩﺍﻧﺴﺖ‬
‫ﺧﻮﺍﻫﺪ ﻛﺮﺩ‪ .‬ﺩﺭ ﻣﻮﺯﻩ ﺗﻴﺮﺍﻓﻜﻦ ﻋﻼﻭﻩ‬ ‫ﻳﺎﻓﺘﻪ ﺍﺳﺖ‪ .‬ﻋﻜﺲﻫﺎﻳﻰ ﺷﺎﻣﻞ ‪ 55‬ﺗﺎﺑﻠﻮ‬ ‫ﺷﺪﻩ ﺍﻧﺪ‪ .‬ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻥ ﻳﻚ ﺟﻮﺍﻥ‬ ‫ﻳﻜﺴﺎﻥ ﺩﺍﺳﺘﺎﻥ ﺩﺭ ﻳﻚ ﺍﭘﻴﺰﻭﺩ ﺩﻳﮕﺮ ﺍﻳﻦ‬ ‫ﻭ ﭘﺴﺮ ﺭﺍ ﻧﻤﺎﺩ ﻧﺴﻞ ﻧﻮﺍﻧﺪﻳﺶ ﻭ ﻣﺘﺮﻗﻰ‬ ‫ﻣﻰﻧﺸﻴﻨﺪ‪.‬‬
‫ﻛﻪ ‪48‬ﺗﺎﻯ ﺁﻥ ﺩﺭ »ﮔﺎﻟﺮﻯ ﻋﻜﺲ« ﺑﻪ‬ ‫ﻣﺮﺍﻛﺸﻰ ﻭ ﻋﻀﻮ ﻳﻜﻰ ﺍﺯ ﮔﻨﮓﻫﺎﺳﺖ‬ ‫ﺑﺎﺭ ﺑﺮﺧﻮﺭﺩ ﺍﻭ ﺭﺍ ﺑﺎ ﺍﺑﺮﺍﺯ ﺣﻘﻴﻘﺖ ﺑﻪ ﺩﺧﺘﺮ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﺧﻮﺍﺳﺘﻪﻫﺎﻳﺶ ﻣﺒﺎﺭﺯﻩ ﻣﻰﻛﻨﺪ‪.‬‬
‫ﺑﺮ ﻧﻤﺎﻳﺶ ﺩﺍﺋﻤﻰ ﺁﺛﺎﺭ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ‪،‬‬ ‫ﺭﻭﻯ ﺩﻳﻮﺍﺭ ﺭﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺗﻴﺮﺍﻓﻜﻦ ﺍﻳﻦ‬ ‫ﻛﻪ ﻋﺎﺷﻖ ﺩﺧﺘﺮ ﺳﻴﺎﻩ ﭘﻮﺳﺘﻰ ﻣﻰﺷﻮﺩ‬ ‫ﻭ ﺗﻔﺎﻭﺕ ﻧﺘﻴﺠﻪ ﺁﻥ ﺑﺎ ﺍﭘﻴﺰﻭﺩ ﺍﻭﻝ ﺭﺍ ﺑﻪ‬ ‫ﻓﻴﻠﻢ ﺍﮔﺮﭼﻪ ﺩﺭ ﺑﺮﺧﻰ ﺟﺎﻫﺎ ﺩﭼﺎﺭ‬ ‫ﺗﺎﻛﺴﻰ ﻭ ﺳﻴﻨﻤﺎﻯ ﻛﻤﺮﻧﮓ ﺍﻳﺮﺍﻥ‬
‫ﮔﺎﻟﺮﻯﻫﺎﻯ ﺩﻳﮕﺮﻯ ﺑﺮﺍﻯ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪﺍﻥ‬ ‫ﻋﻜﺲﻫﺎ ﺭﺍ ﺩﺭ ﺳﻦ ‪ 17‬ﺳﺎﻟﮕﻰ‪ ،‬ﻳﻌﻨﻰ‬ ‫ﻛﻪ ﺍﻭ ﻫﻢ ﻗﺮﺑﺎﻧﻰ ﮔﻨﮓ ﺳﻴﺎﻩﭘﻮﺳﺘﺎﻥ‬ ‫ﺗﺼﻮﻳﺮ ﻣﻴﻜﺸﺪ ﻭ ﺑﻪ ﻧﻮﻋﻰ ﺑﻪ ﺍﻫﻤﻴﺖ‬ ‫ﻛﻠﻴﺸﻪﻫﺎﻯ ﻣﺮﺳﻮﻡ ﺩﺭ ﻏﺎﻟﺐ ﻓﻴﻠﻢﻫﺎﻯ‬
‫ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻳﻦ ﺑﻨﻴﺎﺩ‬ ‫ﺳﺎﻝ ‪ (1982)1361‬ﮔﺮﻓﺘﻪ ﺍﺳﺖ ﻭ‬ ‫ﺍﺳﺖ‪ .‬ﺍﺗﻔﺎﻗﻰ ﻧﺎﺧﻮﺍﺳﺘﻪ ﺩﺭ ﺍﻳﻦ ﻣﻴﺎﻥ‬ ‫ﻛﻼﻡ ﺩﺭ ﺍﺭﺗﺒﺎﻃﺎﺕ ﺭﻭﺯﺍﻧﻪ ﻣﺎ ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬ ‫ﭘﻨﺪﺁﻣﻮﺯ ﻣﻰﺷﻮﺩ ﺍﻣﺎ ﺍﺯ ﻟﺤﺎﻅ ﺳﺎﺧﺘﺎﺭ‬ ‫ﺍﺯ ﺯﺑﺎﻥ ﻣﺪﻳﺮ ﺑﺨﺶ ﺳﻴﻨﻤﺎﻯ ﺁﺳﻴﺎﻯ‬
‫ﻗﺼﺪ ﺩﺍﺭﺩ ﺗﺎ ﻣﺠﻤﻮﻋﻪ ﻓﺮﻫﻨﮕﻰ‪ -‬ﻫﻨﺮﻯ‬ ‫ﻋﻨﺎﻭﻳﻨﻰ ﭼﻮﻥ ﺟﻨﻮﺏ‪ ،‬ﺍﺭﺍﻣﻨﻪ ﻭ … ﺩﺍﺭﻧﺪ‪.‬‬ ‫ﻳﻚ ﺗﺮﺍژﺩﻯ ﺭﺍ ﺭﻗﻢ ﻣﻰﺯﻧﺪ‪ .‬ﻓﻴﻠﻤﻰ ﻛﻪ‬ ‫ﻧﺴﺒﺖ ﺑﻪ ﺩﻳﮕﺮ ﺁﺛﺎﺭ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﺣﻮﻝ‬
‫ﺗﻴﺮﺍﻓﻜﻦ ﺭﺍ ﺟﻬﺖ ﺑﺮﮔﺰﺍﺭﻯ ﻧﺸﺴﺖﻫﺎ ﻭ‬ ‫ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﻛﺘﺮ ﺁﻧﺪﺭﻩﺁ‪ .‬ﺩﻯ‪.‬‬ ‫ﺑﺎ ﺟﺬﺍﺑﻴﺖ ﺩﺭ ﺭﻭﺍﻳﺖ ﺩﺍﺳﺘﺎﻧﻰ ﺍﺯ ﺟﻮﺍﻧﺎﻥ‬ ‫ﮔﻨﮓﻫﺎﻯ ﺟﻮﺍﻥ ﻣﻬﺎﺟﺮ ﻭ‬ ‫ﻣﺤﻮﺭ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻛﺸﻮﺭ ﻛﺎﺭ ﻗﺎﺑﻞ‬ ‫ﻏﺮﺑﻰ‬
‫ﻓﻴﺘﺰﭘﺎﺗﺮﻳﻚ ﺩﺍﻧﺸﻴﺎﺭ ﺗﺎﺭﻳﺦ ﻭ ﺗﺌﻮﺭﻯ ﻫﻨﺮ‬ ‫ﺣﺎﺷﻴﻪﻧﺸﻴﻦ ﻣﻬﺎﺟﺮ ﻣﻰﺗﻮﺍﻧﺪ ﺑﻪ ﻳﻜﻰ ﺍﺯ‬
‫ﺟﻠﺴﺎﺕ ﻫﻨﺮﻯ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﻛﻨﺪ‪.‬‬ ‫ﺩﺍﻧﺸﮕﺎﻩ ﺍﻭﺗﺎﻭﺍﻯ ﻛﺎﻧﺎﺩﺍ ﻧﻴﺰ ﺣﻀﻮﺭ ﺩﺍﺷﺖ‪.‬‬ ‫ﺣﺎﺷﻴﻪﻧﺸﻴﻦ‬ ‫ﻗﺒﻮﻝﺗﺮﻯﺍﺳﺖ‪.‬‬ ‫ﻓﻴﻠﻢ ﺗﺎﻛﺴﻰ ﺁﺧﺮﻳﻦ ﺳﺎﺧﺘﻪ ﺟﻌﻔﺮ‬
‫ﺁﺛﺎﺭ ﺗﻴﺮﺍﻓﻜﻦ ﺩﺭ ﻣﺠﻤﻮﻋﻪﻫﺎﻯ ﺛﺎﺑﺖ‬ ‫ﺍﻳﻦﭘﮋﻭﻫﺸﮕﺮﻣﻄﻠﺒﻰﺑﺎﻋﻨﻮﺍﻥ»ﺑﺎﺯﻧﻮﻳﺴﻰ‬ ‫ﺩﺭ ﻣﻴﺎﻥ ﺁﺛﺎﺭ ﻣﻨﺘﺨﺐ ﺟﺸﻨﻮﺍﺭﻩ ﭼﻨﺪ‬ ‫ﭘﻨﺎﻫﻰ ﻓﻴﻠﻢﺳﺎﺯﻯ ﻛﻪ ﭼﻨﺪ ﺳﺎﻝ ﺍﺳﺖ‬
‫ﻣﻮﺯﻩﻫﺎﻯ ﻣﻄﺮﺣﻰ ﭼﻮﻥ ﺑﺮﻭﻛﻠﻴﻦ‬ ‫ﺗﺎﺭﻳﺦ ﻋﻜﺎﺳﻰ ﺍﻳﺮﺍﻥ‪ ،‬ﻛﺎﺭﻫﺎﻯ ﺍﻭﻟﻴﻪ ﺻﺎﺩﻕ‬ ‫»ﻣﻤﻨﻮﻥﺍﻟﻜﺎﺭ« ﺷﺪﻩ ﺗﻨﻬﺎ ﻧﻤﺎﻳﻨﺪﻩ ﻛﺸﻮﺭ‬
‫ﻧﻴﻮﻳﻮﺭﻙ‪ ،‬ﻣﻮﺯﻩ ﻣﻠﻰ ﺑﺮﻳﺘﺎﻧﻴﺎ‪ ،‬ﻣﻮﺯﻩ‬ ‫ﺗﻴﺮﺍﻓﻜﻦ« ﺑﺮ ﻣﺠﻤﻮﻋﻪ »ﺩﻭ ﻗﻠﻮﻫﺎ«ﻯ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﭘﺮﻓﺮﻭﺵ ﺳﺎﻝ ﺗﺒﺪﻳﻞ ﺷﻮﺩ‪.‬‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﺑﺎﺭﻩ ﮔﻨﮓﻫﺎﻯ ﺟﻮﺍﻥ ﻧﻴﺰ ﻭﺟﻮﺩ‬ ‫ﺍﺯ ﻣﻴﺎﻥ ﻓﻴﻠﻢﻫﺎ‬ ‫ﺍﻳﺮﺍﻥ ﺑﻮﺩ‪ .‬ﺟﻌﻔﺮ ﭘﻨﺎﻫﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺭﺍﻧﻨﺪﻩ‬
‫ﺍﺭﻭﭘﺎﻳﻰ ﻋﻜﺲ ﺩﺭ ﭘﺎﺭﻳﺲ‪ ،‬ﻣﻮﺯﻩ ﻻﻛﻤﺎ‬ ‫ﻭﻯ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪.‬ﺩﻛﺘﺮ ﻓﻴﺘﺰﭘﺎﺗﺮﻳﻚ ﺩﺭ‬ ‫ﺍﺯ ﺩﻳﮕﺮ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻛﻪ ﺑﻪ ﻃﻮﺭ ﻧﺴﺒﻰ ﺩﺭ‬ ‫ﺩﺍﺷﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺩﻭ ﻓﻴﻠﻢ ﺭﺍ ﺑﺮﺍﻯ‬ ‫ﺗﺎﻛﺴﻰ ﺩﺭ ﺷﻬﺮ ﻣﺴﺎﻓﺮﻛﺸﻰ ﻣﻰﻛﻨﺪ‬
‫)ﻟﺲﺁﻧﺠﻠﺲ( ﻭ ﻫﻢﭼﻨﻴﻦ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ‬ ‫ﻓﺴﺘﻴﻮﺍﻝ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻣﻨﺘﻘﺪﺍﻥ ﻭ ﻣﺮﺩﻡ‬ ‫ﺍﻭﺍ ﻧﻮﺍ ﺳﺎﺧﺘﻪ ﻣﺎﺭﻛﻮ ﺍﺳﻜﻮپ ﺗﻮﻟﻴﺪ‬ ‫ﻭ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺁﺩﻡﻫﺎﻯ ﻣﺨﺘﻠﻔﻰ ﺭﺍ‬
‫ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﻧﮕﻬﺪﺍﺭﻯ ﻣﻰﺷﻮﺩ‪ .‬ﺿﻤﻦ‬ ‫ﻳﺎﺩﺩﺍﺷﺖ ﺧﻮﺩ ﺑﻪ ﻋﻨﺼﺮ ﺻﺤﻨﻪﺳﺎﺯﻯ‬ ‫ﻗﺮﺍﺭ ﮔﺮﻓﺖ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺍﻳﻨﺎﻥ ﻧﺎﻡ ﺑﺮﺩ‪:‬‬ ‫ﻣﻌﺮﻓﻰ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩﺍﻡ‪.‬‬ ‫ﺟﻤﻬﻮﺭﻯ ﭼﻚ ﻭ ﺍﺳﻠﻮﺍﻛﻰ ﻛﻪ ﺑﺮﻧﺪﻩ‬ ‫ﺳﻮﺍﺭ ﻣﻰﻛﻨﺪ‪ .‬ﻳﻚ ﻓﺮﻭﺷﻨﺪﻩ ﺩﻯ ﻭﻯ‬
‫ﺍﻳﻨﻜﻪ ﺗﻌﺪﺍﺩﻯ ﺍﺯ ﺁﺛﺎﺭﺵ ﺩﺭ ﺣﺮﺍﺝﻫﺎﻯ‬ ‫ﺩﺭ ﻋﻜﺲﻫﺎﻯ ﺗﻴﺮﺍﻓﻜﻦ ﺍﺷﺎﺭﻩ ﺩﺍﺭﺩ ﻛﻪ‬ ‫ﺩﻳﭙﺎﻥ ﺳﺎﺧﺘﻪ ژﺍﻙ ﺍﻭﺩﻳﺎﺭ ﻣﺤﺼﻮﻝ‬ ‫ﺟﺎﻳﺰﻩ ﻓﻴﭙﺮﺷﻰ ﺩﺭ ﺑﺨﺶ ﻛﺸﻒ‬ ‫ﺩﻯ ﻓﻴﻠﻢﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻛﻪ ﭘﻨﺎﻫﻰ ﺭﺍ‬
‫ﻣﻌﺘﺒﺮ ﻫﻨﺮﻯ ﺩﺭ ﻟﻨﺪﻥ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ ﻭ‬ ‫ﺩﺭ ﺩﻭﺭﻩ ﻋﻜﺲﻫﺎﻯ ﻭﺍﻗﻊﮔﺮﺍﻯ ﺍﻧﻘﻼﺏ ﻭ‬ ‫‪The Danish Girl, My Mother,‬‬ ‫ﻛﺸﻮﺭ ﻓﺮﺍﻧﺴﻪ ﺩﺭ ﺑﺎﺭﻩ ﻣﺮﺩﻯ ﺑﻪ ﻧﺎﻡ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﺍﻣﺴﺎﻝ ﺷﺪ ﻓﻴﻠﻤﻰ ﻗﺪﺭﺗﻤﻨﺪ‬ ‫ﻣﻰﺷﻨﺎﺳﺪ‪ ،‬ﻳﻚ ﻣﻌﻠﻢ ﺯﻥ ﻛﻪ ﺑﺎ ﻳﻚ‬
‫ﺩﻭﺑﻰ ﺑﻪ ﻓﺮﻭﺵ ﺭﺳﻴﺪﻩﺍﻧﺪ‪ .‬ﺗﻴﺮﺍﻓﻜﻦ‬ ‫ﺟﻨﮓ ﭘﺪﻳﺪﻩﺍﻯ ﺗﺎﺯﻩ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ‪.‬‬ ‫ﺩﻳﭙﺎﻥ ﻳﻜﻰ ﺍﺯ ﺳﺮﺑﺎﺯﻫﺎﻯ ﺍﺭﺗﺶ ﺗﺎﻣﻴﻞ‬ ‫ﻭ ﺧﻮﺵﺳﺎﺧﺖ ﺩﺭ ﺑﺎﺭﻩ ﻫﻨﺮﭘﻴﺸﻪ‬ ‫ﻛﻴﻒﺯﻥ ﺟﻮﺍﻥ ﺑﺮ ﺳﺮ ﻣﻮﺿﻮﻉ ﺍﻋﺪﺍﻡ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﺍﻧﻔﺮﺍﺩﻯ ﺩﺭ ﻟﻨﺪﻥ‪ ،‬ﻟﻮﺯﺍﻥ‪،‬‬ ‫ﻋﻜﺎﺱ ﺩﺭ ﻣﺠﻤﻮﻋﻪ »ﺩﻭﻗﻠﻮﻫﺎ« ﺩﻭ ﭘﺴﺮ‬ ‫‪Youth, The Maritain, Son of‬‬ ‫ﺑﺤﺚ ﻣﻰﻛﻨﺪ‪ ،‬ﻭ ﺩﻭ ﺧﻮﺍﻫﺮ ﻣﺴﻦ ﻛﻪ ﺑﺎﻳﺪ‬
‫ﺗﻮﺭﻧﺘﻮ‪ ،‬ﺑﺮﻭﻛﺴﻞ‪ ،‬ﻛﺒﻚ‪ ،‬ﻧﻴﻮﻳﻮﺭﻙ‪،‬‬ ‫ﺩﻭﻗﻠﻮ ﺭﺍ ﺳﻮژﻩ ﻗﺮﺍﺭ ﺩﺍﺩﻩ ﻛﻪ ﭘﺸﺖ ﺷﻴﺸﻪ‬ ‫ﺑﻪ ﺧﺎﻃﺮ ﻧﺬﺭﻯ ﻛﻪ ﻛﺮﺩﻩﺍﻧﺪ ﭼﻨﺪ ﻣﺎﻫﻰ‬
‫ﻫﻴﻮﺳﺘﻦ ﺩﺍﺷﺘﻪ ﺍﺳﺖ‪.‬ﻛﺘﺎﺏ ﻋﻜﺲ‬ ‫ﻣﻐﺎﺯﻩ ﺷﻴﺮﻳﻨﻰﻓﺮﻭﺷﻰ ﺑﻪ ﺷﻴﺮﻳﻨﻰﻫﺎ ﺯﻝ‬ ‫‪Saul, Love, The Ardennes, one‬‬ ‫ﻗﺮﻣﺰ ﺭﺍ ﺗﺎ ﺳﺎﻋﺖ ‪ 12‬ﻇﻬﺮ ﺑﻪ ﭼﺸﻤﻪ‬
‫»ﺗﺎﺭﻳﺦ ﺁﻳﻨﺪﻩ« ﺷﺎﻣﻞ ﺁﺛﺎﺭﻯ ﺍﺯ ﺻﺎﺩﻕ‬ ‫ﺯﺩﻩﺍﻧﺪ ﻳﺎ ﻛﻨﺎﺭ ﻣﻮﺯﺍﻳﻴﻚﻫﺎﻯ ﻣﺴﺠﺪ ﺑﺎ‬ ‫ﺁﺑﻌﻠﻰ ﺑﺮﺳﺎﻧﻨﺪ‪ ،‬ﻧﻤﻮﻧﻪﺍﻯ ﺍﺯ ﺍﻳﻦ ﻣﺴﺎﻓﺮﺍﻥ‬
‫ﺗﻴﺮﺍﻓﻜﻦ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻣﻨﺎﺳﺒﺖ ﺑﻰﻳﻨﺎﻝ‬ ‫ﺍﺳﻠﺤﻪ ﺍﻳﺴﺘﺎﺩﻩﺍﻧﺪ ﻳﺎ ﺍﺳﻠﺤﻪ ﺭﺍ ﺑﻪ ﺳﻤﺖ‬ ‫‪breath, The Assassin, our little‬‬ ‫ﻫﺴﺘﻨﺪ‪ .‬ﻓﻴﻠﻢ ﻛﻪ ﺑﻪ ﻧﻮﻋﻰ ﻣﺴﺘﻨﺪ‬
‫ﻭﻧﻴﺰ )ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﻭﺳﺎﻻﻧﻪ ﻫﻨﺮﻫﺎﻯ‬ ‫ﺩﺍﺳﺘﺎﻧﻰ ﺍﺳﺖ ﻣﺴﺎﻓﺮﺍﻥ ﺭﺍ ﻧﻤﺎﻳﻨﺪﻩ‬
‫ﺩﻳﮕﺮﻯ ﻫﺪﻑ ﮔﺮﻓﺘﻪﺍﻧﺪ‪.‬‬ ‫‪sisters, Victoria, Equals‬‬ ‫ﺑﺨﺶﻫﺎﻳﻰ ﺍﺯ ﺍﻗﺸﺎﺭ ﻣﺨﺘﻠﻒ ﺟﺎﻣﻌﻪ ﻗﺮﺍﺭ‬
‫ﺗﺠﺴﻤﻰ( ﺍﻣﺴﺎﻝ ﺑﻪ ﺯﺑﺎﻥ ﺍﻧﮕﻠﻴﺴﻰ‬ ‫ﻓﻴﺘﺰﭘﺎﺗﺮﻳﻚ ﺩﺭ ﺑﺨﺸﻰ ﺍﺯ ﻳﺎﺩﺩﺍﺷﺖ‬ ‫ﺩﺍﺩﻩ ﻭ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﺯ ﺩﻝ ﮔﻔﺘﮕﻮﻫﺎﻯ ﺁﻧﺎﻥ‬
‫ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪ :‬ﺩﻳﮕﺮ ﻣﻨﻈﺮ ﺭﺍﻫﮕﺸﺎﻯ‬ ‫ﺍﺯﺩﺣﺎﻡﺟﻤﻌﻴﺖﺑﺮﺍﻯﺩﻳﺪﻥﺳﺘﺎﺭﮔﺎﻥ‬ ‫ﺍﻭﺿﺎﻉ ﻛﻨﻮﻧﻰ ﺭﺍ ﺑﻪ ﻧﻮﻋﻰ ﺑﻪ ﺗﺼﻮﻳﺮ ﺑﻜﺸﺪ‪.‬‬
‫ﻣﺠﻤﻮﻋﻪ ﺩﻭﻗﻠﻮﻫﺎﻯ ﺍﻫﻮﺍﺯﻯ ﺗﻴﺮﺍﻓﻜﻦ‬ ‫ﻓﻴﻠﻢ ﺩﺭ ﺑﺮﺧﻰ ﺳﻜﺎﻧﺲﻫﺎ ﭼﻮﻥ ﮔﻔﺘﮕﻮﻯ‬
‫ﺷﻴﻮﻩﺍﻯ ﺍﺳﺖ ﻛﻪ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﺭﻭﺯﻫﺎﻯ ﺁﺧﺮ ﻫﻔﺘﻪ ﻧﺨﺴﺖ ﻓﺴﺘﻴﻮﺍﻝ‪،‬‬ ‫ﺧﻮﺍﻫﺮﺯﺍﺩﻩ ﭘﻨﺎﻫﻰ ﻭ ﭘﺴﺮ ﻧﻮﺟﻮﺍﻧﻰ ﻛﻪ‬
‫ﺳﺮﺷﺖ ﺗﺠﺮﺑﻪﮔﺮﺍﻳﺎﻧﻪﺍﺵ‪ ،‬ﺑﻪ ﺑﺴﻴﺎﺭﻯ ﺍﺯ‬ ‫ﺩﺭ ﺑﻴﻦ ﺯﺑﺎﻟﻪﻫﺎ ﺑﻪ ﺩﻧﺒﺎﻝ ﻏﺬﺍﺳﺖ ﺑﻪ‬
‫ﻣﺸﺨﺼﻪﻫﺎﻯ ﻛﺎﺭﻫﺎﻯ ﺑﻌﺪﻯ ﺗﻴﺮﺍﻓﻜﻦ‬ ‫ﺟﻨﻮﺏ ﺷﻬﺮ ﺗﻮﺭﻧﺘﻮ ﺑﻪ ﺗﺐ ﻭ ﺗﺎﺏ‬ ‫ﺩﻳﺎﻟﻮگﻫﺎﻳﻰ ﺷﺒﻴﻪ ﺑﻪ ﻓﻴﻠﻤﻔﺎﺭﺳﻰﻫﺎﻯ‬
‫ﻣﺠﺎﻝ ﺑﺮﻭﺯ ﻣﻰﺩﻫﺪ‪ :‬ﻧﻤﺎﻳﺶ ﻋﻀﻼﺕ‪،‬‬ ‫ﻣﻠﻮﺩﺭﺍﻡ ﻗﺪﻳﻤﻰ ﻧﺰﺩﻳﻚ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ‬
‫ﺗﻨﺶ ﻣﻴﺎﻥ ﺧﻮﺩ ﻭ ﺩﻳﮕﺮﻯ‪ ،‬ﺧﺸﻮﻧﺖ‪،‬‬ ‫ﺍﻓﺘﺎﺩﻩ ﺑﻮﺩ ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺍﻣﺴﺎﻝ ﻳﻜﻰ ﺍﺯ‬ ‫ﺳﻜﺎﻧﺲﻫﺎﻳﻰ ﭼﻮﻥ ﺑﺤﺚ ﺧﺎﻧﻢ ﻣﻌﻠﻢ ﻭ‬
‫ﺷﻬﺎﺩﺕ ﻭ ﺍﻳﺜﺎﺭ‪ .‬ﻫﻤﻪ ﺍﻳﻦ ﻣﻀﺎﻣﻴﻦ ﺩﺭ‬ ‫ﺟﻮﺍﻧﻰ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﻇﺎﻫﺮﺍ ﻳﻚ ﻛﻴﻒﺯﻥ‬
‫ﻣﺠﻤﻮﻋﻪ ﺳﺎﻝ ‪ 61‬ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪﺍﻧﺪ ﻭ‬ ‫ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﺍﺻﻠﻰ ﺑﻪ ﻧﺎﻡ »ﻛﻴﻨﮓ« ﻭ‬
‫ﺍﻭ ﺑﻌﺪﺍ ﺁﻧﻬﺎ ﺭﺍ ﺑﺎ ﻋﻤﻘﻰ ﻓﻠﺴﻔﻰ‪ ،‬ﻭﺟﻮﺩﻯ‬
‫ﺗﻘﺎﻃﻊﺁﻥﺑﺎﻣﺤﻞﻓﺴﺘﻴﻮﺍﻝﻳﻌﻨﻰﺧﻴﺎﺑﺎﻥ‬
‫ﻭ ﻣﻌﻨﻮﻯ ﺑﻪ ﺷﻜﻠﻰ ﻛﻪ ﻗﺎﺑﻞ ﻗﻴﺎﺱ ﺑﺎ‬
‫ﻫﻴﭻ ﻫﻨﺮﻣﻨﺪ ﺩﻳﮕﺮ ﺍﻳﺮﺍﻧﻰ ﻧﺒﻮﺩ ﺗﺠﺮﺑﻪ‬ ‫»ﺟﺎﻥ« ﺑﺴﺘﻪ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻭﺳﺎﻳﻞ ﻧﻘﻠﻴﻪ‬

‫ﻭ ﺍﺗﻮﺑﻮﺱﻫﺎ ﻭ ﺗﺮﺍﻣﻮﺍﻫﺎ ﺑﺎﻳﺪ ﺍﺯ ﻣﺴﻴﺮ‬

‫ﺩﻳﮕﺮﻯ ﺑﻪ ﻣﻘﺼﺪﻫﺎﻯ ﺧﻮﺩ ﻣﻰﺭﺳﻴﺪﻧﺪ‪.‬‬

‫ﺍﻣﺎ ﺍﻳﻦ ﺧﻴﺎﺑﺎﻥﻫﺎﻯ ﺑﺴﺘﻪ ﻭ ﺧﻠﻮﺕ ﺷﺪﻩ‬

‫ﺩﺭ ﺳﺎﻋﺎﺕ ﺧﺎﺻﻰ ﻛﻪ ﺑﺎ ﭘﻴﺎﺩﻩ ﺷﺪﻥ‬ ‫ﻟﻮﮔﻮﻯ ﺑﺰﺭگ ﻓﺴﺘﻴﻮﺍﻝ ﺩﺭ ﺧﻴﺎﺑﺎﻥ ﺍﺻﻠﻰ ﺟﺸﻨﻮﺍﺭﻩ‬
‫ﺳﺘﺎﺭﮔﺎﻥ ﻫﺎﻟﻴﻮﻭﺩ ﺍﺯ ﻟﻴﻤﻮﺯﻳﻦﻫﺎ ﺑﻪ‬
‫ﻣﻨﻈﻮﺭ ﺷﺮﻛﺖ ﺩﺭ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﻳﺎ ﺣﻀﻮﺭ‬ ‫ﺩﺭ ﺳﺮﻳﻼﻧﻜﺎ ﺍﺳﺖ ﻛﻪ ﭘﺲ ﺍﺯ ﻛﺸﺘﻪ‬ ‫ﺳﺎﻟﺨﻮﺭﺩﻩﺍﻯ ﺑﻪ ﻧﺎﻡ ﺍﻭﺍ ﺍﺳﺖ ﻛﻪ ﭘﺲ‬
‫ﺩﺭ ﻛﻨﻔﺮﺍﻧﺲ ﻣﻄﺒﻮﻋﺎﺗﻰ ﻭ ﻏﻴﺮﻩ ﻫﻤﺮﺍﻩ‬ ‫ﺷﺪﻥ ﺧﺎﻧﻮﺍﺩﻩﺍﺵ ﺑﻪ ﻃﻮﺭ ﺍﺗﻘﺎﻗﻰ ﺑﺎ‬ ‫ﺍﺯ ﺗﺮﻙ ﺍﻋﺘﻴﺎﺩ ﺑﻪ ﺍﻟﻜﻞ ﺩﺭ ﺗﻼﺵ ﺍﺳﺖ‬
‫ﺑﻮﺩ ﺑﺎ ﺍﺯﺩﺣﺎﻡ ﺟﻤﻌﻴﺘﻰ ﺭﻭﺑﺮﻭ ﻣﻰﺷﺪ‬ ‫ﺯﻧﻰ ﺟﻮﺍﻥ ﻭ ﻳﻚ ﺩﺧﺘﺮ ﻧﻮﺟﻮﺍﻥ ﺑﺎ‬ ‫ﮔﺬﺷﺘﻪ ﺧﻮﺩ ﺭﺍ ﺟﺒﺮﺍﻥ ﻛﻨﺪ ﻭ ﺩﺭ ﺍﻳﻦ‬
‫ﻛﻪ ﺑﺮﺍﻯ ﺩﻳﺪﻥ ﻫﻨﺮﭘﻴﺸﻪ ﻣﺤﺒﻮﺏ ﺧﻮﺩ‬ ‫ﻣﺪﺍﺭﻙ ﺟﻌﻠﻰ ﻭ ﺩﺭ ﻗﺎﻟﺐ ﻳﻚ ﺧﺎﻧﻮﺍﺩﻩ‬ ‫ﻣﻴﺎﻥ ﺗﻨﻬﺎ ﻛﺴﻰ ﻛﻪ ﺑﺴﻴﺎﺭ ﺍﺯ ﺍﻭ ﺁﺯﺭﺩﻩ‬
‫ﺣﺘﻰ ﺑﺮﺍﻯ ﻟﺤﻈﻪﺍﻯ ﻭ ﺁﻥ ﻫﻢ ﺍﺯ ﺭﺍﻩ ﺩﻭﺭ‬ ‫ﺑﻪ ﻓﺮﺍﻧﺴﻪ ﭘﻨﺎﻫﻨﺪﻩ ﻣﻰﺷﻮﻧﺪ‪ .‬ﺍﻭ ﻛﻪ ﺑﻪ‬ ‫ﺍﺳﺖ ﭘﺴﺮ ﺟﻮﺍﻧﺶ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﻫﻴﭻ‬
‫ﻋﻨﻮﺍﻥ ﻧﻈﺎﻓﺘﭽﻰ ﻛﺎﺭﻯ ﺩﺳﺖ ﻭ ﭘﺎ ﻛﺮﺩﻩ‬ ‫ﺭﻭﻯ ﻗﺼﺪ ﻧﺪﺍﺭﺩ ﺍﻭ ﺭﺍ ﺑﺒﺨﺸﺪ‪ .‬ﺍﻳﻦ‬
‫ﺳﺎﻋﺖﻫﺎﺑﻪﺍﻧﺘﻈﺎﺭﻣﻰﺍﻳﺴﺘﺎﺩﻧﺪ‪.‬‬ ‫ﻃﻰ ﺍﺗﻔﺎﻗﺎﺗﻰ ﺩﺭﮔﻴﺮ ﮔﻨﮓ ﺧﻄﺮﻧﺎﻙ‬ ‫ﻓﻴﻠﻢ ﺭﺍ ﻣﻰﺗﻮﺍﻥ ﺍﺯ ﺍﻣﻴﺪﻫﺎﻯ ﻓﻴﻠﻢﻫﺎﻯ‬
‫ﺟﺸﻨﻮﺍﺭﻩ ﻓﻴﻠﻢ ﺗﻮﺭﻧﺘﻮ ﺭﻭﺯ ﻳﻚﺷﻨﺒﻪ‬ ‫ﻋﺮﺏﻫﺎﻯ ﺣﺎﺷﻴﻪﻧﺸﻴﻦ ﭘﺎﺭﻳﺲ ﻣﻰﺷﻮﺩ‪.‬‬
‫ﻃﻰ ﻣﺮﺍﺳﻤﻰ ﺩﺭ ﻣﺠﻤﻮﻋﻪ »ﺗﻴﻒ ﺑﻞ‬ ‫ﺍﻭﺩﻳﺎﺭ ﻗﺒﻼ ﻫﻢ ﺩﺭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﭼﻮﻥ ﺯﻧﮓ‬ ‫ﺧﺎﺭﺟﻰ ﺍﺳﻜﺎﺭ ‪ 2016‬ﺩﺍﻧﺴﺖ‪.‬‬
‫ﻻﻳﺖ ﺑﺎﻛﺲ« ﺟﻮﺍﻳﺰ ﻭ ﺑﺮﻧﺪﮔﺎﻥ ﺧﻮﺩ‬ ‫ﻭ ﺍﺳﺘﺨﻮﺍﻥ ﻧﺸﺎﻥ ﺩﺍﺩﻩ ﻛﻪ ﮔﺎﻫﻰ ﺗﺎ ﻣﺮﺯ‬ ‫ﺣﺎﻻ ﺩﺭﺳﺖ‪ ،‬ﺳﭙﺲ ﻏﻠﻂ ﺳﺎﺧﺘﻪ‬
‫ﺭﺍ ﻛﻪ ﺑﻴﺸﺘﺮ ﺑﻪ ﺗﻮﻟﻴﺪﺍﺕ ﻛﺎﻧﺎﺩﺍﻳﻰ ﺗﻌﻠﻖ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺍﻛﺸﻦ ﭘﻴﺶ ﻣﻰﺭﻭﺩ ﻭ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﻫﻮﻧﮓ ﺳﺎﻧﮓ ﺳﻮ ﻣﺤﺼﻮﻝ ﻛﺮﻩ ﺟﻨﻮﺑﻰ‬
‫ﺳﺎﺧﺘﺎﺭ ﺧﻮﺏ ﻓﻴﻠﻢﻫﺎﻳﺶ ﺩﺭ ﺗﻀﺎﺩ ﺑﻴﻦ‬ ‫ﺭﺍ ﻣﻰﺗﻮﺍﻧﻢ ﻳﻜﻰ ﺍﺯ ﺩﻟﻨﺸﻴﻦﺗﺮﻳﻦ‬
‫ﺩﺍﺭﺩ ﺑﻪ ﺷﺮﺡ ﺯﻳﺮ ﺍﻋﻼﻡ ﻛﺮﺩ‪:‬‬ ‫ﺳﻴﻨﻤﺎﻯ ﻭﺍﻗﻊﮔﺮﺍ ﻭ ﺯﺩ ﻭ ﺧﻮﺭﺩﻫﺎﻯ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺳﺒﻚ ﻭﺍﻗﻊﮔﺮﺍﻯ ﺟﺸﻨﻮﺍﺭﻩ‬
‫ﺟﺎﻳﺰﻩ ﻣﻨﺘﺨﺐ ﻣﺮﺩﻡ ﺑﺮﺍﻯ ﻓﻴﻠﻢ ﺍﺗﺎﻕ‬ ‫ﻫﺎﻟﻴﻮﻭﺩﻯ ﺳﺮﮔﺮﺩﺍﻥ ﻣﻰﺷﻮﺩ ﺍﻣﺎ ﺩﺭ‬ ‫ﺍﻣﺴﺎﻝ ﺑﻨﺎﻣﻢ‪ .‬ﻓﻴﻠﻢ ﺩﺍﺳﺘﺎﻥ ﻛﺎﺭﮔﺮﺩﺍﻥ‬
‫ﺟﺎﻳﺰﻩ ﺩﻭﻡ ﻣﻨﺘﺨﺐ ﻣﺮﺩﻡ ﺑﺮﺍﻯ‬ ‫ﺟﻮﺍﻧﻰ ﺍﺳﺖ ﻛﻪ ﺑﻪ ﺷﻬﺮﺳﺘﺎﻧﻰ ﻛﻮﭼﻚ‬
‫ﺍﻻﻫﻪﻫﺎﻯ ﺧﺸﻤﮕﻴﻦ ﻫﻨﺪ ﻭ ﻧﻮﺭ ﻣﻮﺿﻌﻰ‬

‫ﺩﺭ ﺻﻒ ﺗﻬﻴﻪ ﺑﻠﻴﺖ‬ ‫ﭘﻮﺳﺘﺮ ﻓﻴﻠﻢ »ﻟﻴﻼ« ﺍﺯ ﺩﺍﺭﻳﻮﺵ ﻣﻬﺮﺟﻮﻳﻰ ﺩﺭ ﺑﻴﻦ ﺍﻧﺒﻮﻩ ﭘﻮﺳﺘﺮﻫﺎﻯ‬

‫ﻣﺠﻤﻮﻉ ﻛﺎﺭﻫﺎﻳﺶ ﺭﺍﺿﻰ ﻛﻨﻨﺪﻩ ﺍﺳﺖ‪ .‬ﺟﺎﻳﺰﻩ ﻣﻨﺘﺨﺐ ﻣﺮﺩﻡ ﺩﺭ ﺑﺨﺶ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﮔﺬﺷﺘﻪ‬

‫ﻣﻌﺮﻓﻰﻣﻰﻛﻨﺪﺍﺳﻴﺮﺷﻌﺎﺭﺯﺩﮔﻰﻭﺗﺼﻨﻊ ﺩﻋﻮﺕ ﺷﺪﻩ ﺗﺎ ﭘﺲ ﺍﺯ ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ ﺩﺭ ﺳﻴﺎﻩ ﺳﺎﺧﺘﻪ ﻣﺸﺘﺮﻙ ﺍﺩﻳﻞ ﺑﻞ »ﺟﻨﻮﻥ ﻧﻴﻤﻪ ﺷﺐ« ﺑﺮﺍﻯ ﻓﻴﻠﻢ‬
‫ﻣﻰﺷﻮﺩ‪ .‬ﺗﺎﻛﺴﻰ ﺍﻳﺪﻩ ﺧﻮﺑﻰ ﺩﺍﺭﺩ ﺍﻣﺎ ﺑﻪ ﭘﺮﺳﺶ ﻭ ﭘﺎﺳﺦ ﺷﺮﻛﺖ ﻛﻨﺪ‪ .‬ﺍﻭ ﺩﺭ ﺯﻣﺎﻥ ﺍﺭﺑﻰ ﻭ ﺑﻼﻝ ﻓﻼﺡ ﻣﺤﺼﻮﻝ ﺑﻠﮋﻳﻚ ﻛﻪ ‪Hardcore‬‬
‫ﻋﻨﻮﺍﻥ ﻳﻚ ﻣﺴﺘﻨﺪ ﺩﺍﺳﺘﺎﻧﻰ ﺍﻧﺘﻈﺎﺭﺍﺕ ﻓﺮﺍﻏﺘﻰ ﻛﻪ ﺗﺎ ﺷﺮﻭﻉ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢ ﺩﺍﺭﺩ ﺑﺎ ﺑﺮﻧﺪﻩ ﺑﺨﺶ ﻛﺸﻒ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﺩﺭﺍپ ﺟﺎﻳﺰﻩ ﺑﺨﺶ ﭘﻼﺗﻔﺮﻡ ﺗﻮﺭﻧﺘﻮ ﺑﺮﺍﻯ‬
‫ﻛﺴﻰ ﺭﺍ ﻛﻪ ﺑﺎ ﺟﺎﻣﻌﻪ ﺍﻳﺮﺍﻥ ﻭ ﺳﻴﻨﻤﺎﻯ ﺩﺧﺘﺮ ﻧﻘﺎﺵ ﺯﻳﺒﺎﻳﻰ ﺁﺷﻨﺎ ﻣﻰﺷﻮﺩ ﻭ ﺩﺭ ﺑﺎﻛﺲ ﺷﺪ ﻳﻚ ﺭﻭﻣﺌﻮ ﻭ ژﻭﻟﻴﺖ ﻣﺪﺭﻥ ﻓﻴﻠﻢ ﺻﺪﻣﻪ‬

‫ﺟﺎﻳﺰﻩ ﻧﺘﭙﻚ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺍﻛﺮﺍﻥ ﺑﻪ‬ ‫ﻭﺍﻗﻊﮔﺮﺍ ﺑﻪ ﺧﻮﺑﻰ ﺁﺷﻨﺎﺳﺖ ﺑﻪ ﺩﺷﻮﺍﺭﻯ‬

‫ﻓﻴﻠﻢ ﺳﺘﺎﺭﻩ ﻧﺠﻮﺍﻛﻨﻨﺪﻩ‬ ‫ﺑﺮﺁﻭﺭﺩﻩ ﻣﻰﻛﻨﺪ‪.‬ﺩﺭ ﺣﺎﺷﻴﻪ ﻓﺴﺘﻴﻮﺍﻝ‬

‫ﺟﺎﻳﺰﻩ ﻓﻴﭙﺮﺷﻰ ﺩﺭ ﺑﺨﺶ ﻧﻤﺎﻳﺶ‬ ‫ﺑﺎ ﺩﻳﻤﻴﺘﺮﻯ ﺍﭘﻴﺪﺱ ﺍﺯ ﺑﺮﻧﺎﻣﻪﮔﺬﺍﺭﺍﻥ‬

‫ﻭﻳﮋﻩ ﺑﻪ ﻓﻴﻠﻢ ﺑﻴﺎﺑﺎﻥ‬ ‫ﻛﻬﻨﻪﻛﺎﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺗﻮﺭﻧﺘﻮ ﻛﻪ ﻳﻮﻧﺎﻧﻰﺗﺒﺎﺭ‬

‫ﺟﺎﻳﺰﻩ ﻓﻴﭙﺮﺷﻰ ﺩﺭ ﺑﺨﺶ ﻛﺸﻒ ﺑﻪ‬ ‫ﻭ ﺍﺯ ﭘﺎﻳﻪﮔﺬﺭﺍﻥ ﻓﺴﺘﻴﻮﺍﻝ ﻣﻮﻧﺘﺮﺍﻝ ﻭ‬

‫ﻓﻴﻠﻢ ﺍﻭﺍ ﻧﻮﺍ‬ ‫ﻫﻢﭼﻨﻴﻦ ﺗﺴﺎﻟﻮﻧﻴﻜﻰ ﻳﻮﻧﺎﻥ ﺍﺳﺖ ﮔﭗ‬

‫ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﻛﺎﻧﺎﺩﺍﻳﻰ ﺑﻪ‬ ‫ﻛﻮﺗﺎﻫﻰ ﺯﺩﻡ ﻭ ﺍﺯ ﺍﻭ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻨﻜﻪ ﭼﺮﺍ‬

‫ﻫﻴﻮﻻﻯ ﻛﻤﺪ‬ ‫ﻓﻘﻂ ﻳﻚ ﻓﻴﻠﻢ ﺍﺯ ﺍﻳﺮﺍﻥ ﺍﻧﺘﺨﺎﺏ ﻛﺮﺩﻩ‬

‫ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﺑﻠﻨﺪ ﺍﻭﻝ ﻛﺎﻧﺎﺩﺍﻳﻰ‬ ‫ﭘﺮﺳﻴﺪﻡ ‪ .‬ﺩﻳﻤﻴﺘﺮﻯ ﺳﺮﻯ ﺗﻜﺎﻥ ﺩﺍﺩ ﻭ‬

‫ﺑﻪ ﻏﻮﻝ ﺧﻔﺘﻪ‬ ‫ﮔﻔﺖ‪» :‬ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺍﺯ ﺩﻭﺭﺍﻥ ﻃﻼﻳﻰ‬

‫ﺟﺎﻳﺰﻩ ﺩﺭﺍپ ﺑﺎﻛﺲ ﺩﺭ ﺑﺨﺶ ﻛﺸﻒ‬ ‫ﺧﻮﺩﺵ ﻳﻌﻨﻰ ﺩﻫﻪ ﻫﺸﺘﺎﺩ ﻭ ﺍﻭﺍﺳﻂ ﺩﻫﻪ‬

‫ﻓﻴﻠﻢﺳﺎﺯﻫﺎ ﺑﺮﺍﻯ ﻓﻴﻠﻢ ﺳﻴﺎﻩ‬ ‫ﻧﻮﺩ ﺧﻴﻠﻰ ﺩﻭﺭ ﺷﺪﻩ ﻭ ﺍﺯ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ‬

‫ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ ﻛﺎﻧﺎﺩﺍﻳﻰ ﺑﺮﺍﻯ‬ ‫ﺳﺎﻋﺖﻫﺎ ﺍﻧﺘﻈﺎﺭ ﺑﺮﺍﻯ ﻳﻚ ﻟﺤﻈﻪ ﺩﻳﺪﻥ ﺳﺘﺎﺭﮔﺎﻥ ﻫﺎﻟﻴﻮﻭﺩ‬ ‫ﺧﻮﺵ ﻗﺮﻳﺤﻪ ﺁﻥ ﺳﺎﻝﻫﺎ ﺩﻳﮕﺮ ﺍﺛﺮﻯ‬
‫ﭘﻞ ﻫﻮﺍﻳﻰ‬ ‫ﻧﻴﺴﺖ«‪.‬‬

‫ﺩﺭ ﺗﺎﻳﻴﺪ ﺣﺮﻑﻫﺎﻯ ﺩﻳﻤﻴﺘﺮﻯ ﺍﭘﻴﺪﺱ‪ ،‬ﺗﻼﺵ ﺍﺳﺖ ﻛﻪ ﺗﻮﺟﻪ ﺍﻭ ﺭﺍ ﺑﻪ ﺧﻮﺩﺵ ﻭ ﺍﻣﺮﻭﺯﻯ ﺩﺭ ﺑﺨﺶﻫﺎﻯ ﺣﺎﺷﻴﻪﻧﺸﻴﻦ ﺑﻬﺘﺮﻳﻦ ﻓﻴﻠﻢ ﻛﻮﺗﺎﻩ ﺑﻴﻦﺍﻟﻤﻠﻞ ﺑﺮﺍﻯ‬
‫ﻣﻦ ﻧﻴﺰ ﺳﺎﻝﻫﺎ ﭘﻴﺶ ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﺷﺎﺭﻩ ﺟﻠﺐ ﻛﻨﺪ ﺍﻣﺎ ﺑﺎ ﺩﺭﻭﻏﻰ ﻛﻪ ﻣﻰﮔﻮﻳﺪ ﺍﻳﻦ ﺷﻬﺮ ﺑﺮﻭﻛﺴﻞ ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺁﻥ ﻣﻬﺎﺟﺮﺍﻥ ﻣﺎﻣﺎﻥﻫﺎ‬