Mohammad Rasoulof Cites Jafar Panahi’s New Prison Sentence as He and O Mipo Receive Tokyo’s Kurosawa Akira Award: ‘Iranian Cinema Continues to Face Repression’

Mohammad Rasoulof Cites Jafar Panahi’s New Prison Sentence as He and O Mipo Receive Tokyo’s Kurosawa Akira Award: ‘Iranian Cinema Continues to Face Repression’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 2, 2026 11:32pm PT Mohammad Rasoulof Cites Jafar Panahi’s New Prison Sentence as He and O Mipo Receive Tokyo’s Kurosawa Akira Award: ‘Iranian Cinema Continues to Face Repression’ The Iranian filmmaker said his own 2010 imprisonment ended his reliance on metaphor, while Oh spoke about returning to directing after nine years raising two sons. By Naman Ramachandran Plus Icon Naman Ramachandran Latest ‘Wicker’ Edges ‘Primetime’ for U.K., Ireland Box Office Crown as ‘Godzilla,’ ‘Ramayana’ Loom 27 minutes ago New Indian Horror Lab Aims to Push Genre Past Ghosts and Comedy Hybrids (EXCLUSIVE) 6 hours ago New Japanese Animation Prize Named Nippon Anime Awards, Sets First Ceremony for November 2027 7 hours ago See All Add us as a Google Preferred Source Comments Exiled Iranian director Mohammad Rasoulof pointed to Jafar Panahi ’s latest prison sentence as proof that Iranian cinema remains under repression, speaking at a Tokyo International Film Festival press conference for the Kurosawa Akira Award.

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Rasoulof and Japanese director O Mipo are this year’s recipients. “Of course, Iranian cinema continues to face repression, and my friends and colleagues remain under enormous pressure,” Rasoulof said in Persian.

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“Just a few days ago, another sentence was handed down against Jafar Panahi, who won the Palme d’Or at Cannes last year: five more years in prison and the confiscation of his property.” Related Stories Todd Haynes on Pedro Pascal-Led ‘De Noche,’ What You Can’t See on Screen and the Radical Power of Love ‘Barbara Forever’ Director Brydie O’Connor on Celebrating a Lesbian Icon Who Did It All – and Getting Support From Christine Vachon He said many Iranian filmmakers were determined to take on those in power by telling their stories directly instead of using metaphor to evade repression. Rasoulof made the same shift himself after 2010, when he was arrested while making a film and sentenced to five years.

Alone in a cell, he asked himself why anyone should go to prison for making a film. He began to see his reliance on allegory, a technique classical Persian poets used to shield themselves, as a form of self-protection.

“I thought I was using metaphor to run away from the regime, but I thought I wouldn’t do it anymore. I don’t need to run away anymore, so then I decided to tell things directly,” Rasoulof said.

The selection committee was chaired by Yamada Yoji and also included director Lee Sang-il, cinematographer Ashizawa Akiko and festival programming director Ichiyama Shozo. The committee cited Rasoulof’s films about state repression of human rights.

It singled out “There Is No Evil” and “The Seed of the Sacred Fig” for treating even the enforcers of oppression as ordinary citizens, and it also recognized his refusal to stop working despite pressure. Rasoulof grew up watching “Red Beard” on Iranian state television, more than 10 times by his own count.

The Kurosawa film closest to him now, though, is “Dersu Uzala.” “Whenever I feel hopeless, or whenever I feel depressed, even now, I see ‘Dersu Uzala’ so that I can go back to my own life and I can find some hope,” he said. The committee praised O for looking at people on society’s margins without passing moral judgment, starting with her 2006 debut “The Sakai’s Happiness.” It highlighted her unforced direction of children in “Being Good,” “Living in Two Worlds” and “How Dare You?” O had her first son in 2015 and expected to return to work quickly.

She found that she could not make films an

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