Cinema: in Muslim countries

Cinema. The word "cinema" holds immense breadth and influence nowadays. It can shape preferences or be shaped by them, influencing the majority of film production worldwide. While many films are made with the aim of catering to general audience tastes or reflecting the values, beliefs, and responsibilities of their creators, not all films reach a wide audience. Some remain unknown to a specific number of viewers. Moreover, various countries have different sets of regulatory constraints influenced by cultural values, ideologies, taboos, and religious ethics, which sometimes constrain the freedom of cinema.

It's a known fact that no nation has a religion; individuals do. Yet, many countries worldwide still uphold strict religious norms. In Islamic governance in many countries, cinema's freedom has often been curtailed. However, in some nations, despite challenging circumstances, cinema has progressed and thrived.

Let's delve into the cinema scenarios of some countries that have worked within adversities, highlighting a few that have carved their own paths amidst strictures. It's true that each Middle Eastern country has somewhat unique and independent cultural landscapes, distinct in both history and bias. Historical elements include primary events and trigger points that have influenced cinema's emergence and development in the region. These elements identify local and international cinema in terms of significance, development, and presentation, making them more accessible.

The year 2011 was significant for many Muslim countries. During this period, several Arab countries experienced upheaval. Islamic awakening brought fundamental intrinsic changes in some regions. Especially in Bahrain, Libya, Yemen, Tunisia, Egypt, and Saudi Arabia. In Iran, there has been a fundamental change in national and social life, compelling filmmakers to walk different paths, sometimes metaphorically, sometimes adopting post-colonial imagery. Has this awakening paved the way for a new chapter in cinema for these Arab countries? Whether it has or not, shedding light on the situation is necessary for an update.

It can be said that Egypt has primarily shaped the mainstream of Arab cinema. A plethora of films has been produced in Egypt, and Egyptian films continue to enjoy widespread popularity in the Arab world. Egypt was once referred to as the "Hollywood of the Middle East." It initiated cinema in 1927 with the movie 'Layla,' followed by a series of productions. Though they have progressed in leaps and bounds, the art has not been left untouched by the industry. However, compared to Bangladesh, their cinematic journey is more established.

Later on, cinema in Egypt became familiar as a cultural commodity. Arab cultural-dependent cinema-making and its extensive expansion continued. In the past few decades, even though internal subjects of Arab countries have been melodramatically depicted in films, there has been an emergence of socially and humanly nuanced themes in their cinema. These themes were progressive genres. Filmmakers in the country now claim that many rules have to be followed when it comes to portraying love scenes in cinema. Freedom in production is not as prevalent as before. Consequently, many intelligent or talented filmmakers strive to tell stories through cinematography and metaphor, thereby improving the quality of cinema, becoming poetic. Especially, Iranian filmmakers have achieved significant success by making cinema in this manner. Their films find a place and recognition in international film festivals. They are also awarded.

The year 2011 was significant for the Middle Eastern countries. The Arab Spring had a profound impact on the economic and social changes in these nations, creating a new obligation in cultural issues. What used to be depicted naturally on screen, now sparks various debates. For example, the intimate sequences between protagonists in the 1971 film "My Wife and the Dog" were once considered normal but are now almost unthinkable.

Tunisia stands out as particularly important among the Arab countries. There has been a significant production of cinema in the country. Many films have been made focusing on the people and societal issues of Tunisia. Tunisian cinema has gained popularity internationally, with films like Kamal Sharif's "Alamat al-Malekiat" being notable examples. Moreover, Tunisia is advancing in the production of documentary films, surpassing feature films in frequency. The country boasts abundant natural beauty serving as shooting spots, attracting many foreign filmmakers. There are training centers for filmmaking, and film festivals are also held, indicating a promising future for Tunisian cinema.

Since 1995, Tunisia has been sporadically submitting films for the Academy Awards in the Best Foreign Language Film category. Until 2023, ten Tunisian films have been submitted for the Academy Awards for Best International Feature Film. Some have received recognition, such as "The Man Who Sold His Skin," which was nominated for the 93rd Academy Awards. This was the first Tunisian film to receive such widespread acclaim. Additionally, the documentary film "For Dads" was also nominated for an Academy Award, produced by Kaouther Ben Hania.

Iran has a prominent place in the history of world cinema. Its success needs to be separately documented. The environment plays a significant role. Among the Arab countries, Iran's name is most frequently mentioned in the cinematic world. Especially noted for its portrayal of suppressed, undiluted societal pressures or Islamic values' voids, Iranian cinema is considered a standard bearer in the film industry.

Iranian cinema serves as an ideal model for Arab filmmakers. Consequently, Iranian filmmakers are eager to establish connections and expand relations with Arab countries. The inspiration for filmmakers worldwide originates from Iranian cinema. The pioneer of international filmmaking is Dariush Mehrjui, who created "The Cow" in 1969, drawing inspiration from Italian neorealism or the French New Wave. It gained international acclaim.

Every year, Iran produces numerous popular genres of films, while its art-house cinema is internationally acclaimed. In 2012, the Iranian film "A Separation" won the Academy Award for Best Foreign Language Film, followed by "The Salesman," both directed by Asghar Farhadi, winning acclaim abroad. Another prominent filmmaker in Iran is Abbas Kiarostami, whose film "Taste of Cherry" won the Palme d'Or at the Cannes Film Festival. Among the leading Iranian filmmakers are Bahman Ghobadi, Mohsen Makhmalbaf, Samira Makhmalbaf, Hana Makhmalbaf, Tahmineh Milani, Jafar Panahi, and Majid Majidi. They have each left their mark on Iranian cinema, earning many international awards and recognition.

Turkey's film industry has flourished under the guidance of acclaimed filmmaker Yılmaz Güney. He was a Kurdish filmmaker, actor, playwright, and political activist who quickly gained popularity in the Turkish cinema industry. Many of his works were created from a far-left perspective and were dedicated to the plight of Turkey's working class. In 1982, Güney won the Palme d'Or at the Cannes Film Festival for his film "Yol" (The Road).

Due to political reasons, Yılmaz Güney spent 20 years in prison in Turkey. However, he directed three films from prison. He prepared the scripts in such a way that he could produce them even from jail, dividing the script into minutes. Most of the film was made this way. When the film was almost finished, Yılmaz Güney escaped from prison to attend the Cannes Festival, keeping the country of the film's production secret. He arrived at the festival office with the film in his hand. The jury was amazed when they saw the film, and it received critical acclaim. The award ceremony was held in Europe.

Furthermore, Turkey's contemporary bright star filmmaker is Nuri Bilge Ceylan. His films like "Winter Sleep," "Once Upon a Time in Anatolia," and "Three Monkeys" have illuminated Turkey's name at international festivals. Pakistan, among Muslim countries, has significantly influenced cultural trends, particularly in the Arab cultural sphere. Pakistani cinema, known as Lollywood, reflects two streams like in all countries: mainstream and alternative. Films are made in Urdu and Punjabi languages.

However, one of the major film industries in the country is Lollywood, with Urdu as its language. A film called "Jayland" was showcased at the Cannes Film Festival in 2022. It received praise. The history of Pakistani cinema dates back to 1948, with various types of films being produced since then. However, the first film was made in Pakistan in 1929. Producer Dawood Chand produced the film "Husn Ka Daku." The first Pakistani film after independence was Teri Yaad. Pakistani cinema is increasingly producing commercial formula films tailored to audience preferences.
In countries like Malaysia and Indonesia, cinema flourishes and their films are acclaimed worldwide. We've seen many films from these countries. In the 1970s, Saudi Arabia's population witnessed the latest movies when cinemas were still active. However, due to pressure from the conservative Islamic leaders, cinemas were closed down. Saudi Arabia has been without cinemas for nearly 40 years. Recently, the country's ruling family has decided to lift the ban on cinemas, with plans to open 40 cinemas across 15 Saudi cities in the next five years.

As part of a major deal, the country has signed agreements with the world's largest cinema chain, AMC, known for its American Movie Classics. It is said that in the coming years, Saudi Arabia will embark on a commercial journey in cinema and produce numerous films. This trend is also noticeable in other Muslim countries, as well as in parts of Western Asia and North Africa.

Yes, cinema is becoming a topic of discussion or initiation in almost every country. Egypt, Iran, Bahrain, Iraq, Israel, Jordan, Kuwait, Lebanon, Palestine, Oman, Qatar, Saudi Arabia, Syria, the United Arab Emirates, Yemen, and some African countries can also be included in this list. Each country struggles with cinema, aiming for new waves of construction or language acquisition. In today's changing world, with the development of information technology, the construction techniques and philosophies of cinema are rapidly changing. Even genre preferences are evolving. If people cannot watch films in their own countries, they easily access the best films in the world through smart world technology. Therefore, there is no benefit in construction and presentation, even with censorship or regulation. In the end, only the nation falls behind, and there is no profit.

Author: Poet and Filmmaker