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| Farhad Eyvazi, filmmaker |
Although the Turkish language arrived late in the cinema sector of Iranian Azerbaijan, the current situation is promising. This is stated by Tabriz-born director Farhad Eyvazi. In an interview with Voice of America, Eyvazi evaluated the increase in the number of Turkish-language films made in Iranian Azerbaijan in recent years, their characteristics, and the future of Turkish-language cinema in Iran.
"Recently, there has been a significant increase in works in our own language and culture in other cultural fields. Cinema was the last one to join this trend. You could even say that our young people were late to pay attention to cinema. However, after Iranian cinema became famous worldwide and found its place, it seems that Azerbaijani youth also wanted to see themselves in a special place."
Although the films are in Turkish, they are still Iranian cinema
The director emphasizes the increasing number of Turkish-language films as a promising development, but he believes it is too early to call these films "Azerbaijani cinema."
"In 2005, when I made a film in Tabriz, the number of independent filmmakers was probably no more than the number of fingers on one hand. But when I visited recently, I saw many independent young filmmakers. Many of them are making films in Turkish. This is a hopeful thing," he notes.
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| "Ev" (The Home), was released in 2017. |
Eyvazi adds, "These filmmakers mostly tackle issues and problems within their communities. But in my opinion, it is still too early to call it something separate from Iranian cinema. Many of our young filmmakers have either studied in Tehran or were influenced by Iranian cinema and have reached their current position thanks to that influence. They try to reflect their own language and culture in their films, but is there something called Azerbaijani cinema there? There isn't. Could this be the case in the future? Will our young filmmakers be able to move forward? When they gain a language that is not just a spoken language but a cinematographic language, and when they begin telling stories in that language, then we might have something called Azerbaijani cinema."
Telling the story in one's own language and with the codes of one's own community
According to the director working in Turkey, just as a filmmaker in a particular region can better tell the story of their community in their own language, the audience will also better understand the story.
"I see cinema as an extension of storytelling. When can someone tell a story very well? When it is in their mother tongue. Once you have internalized a story, you can tell it better. In Turkish films, our directors are able to gain the advantage of telling stories in their own language. Imagine you have a story. You try to tell it in your own language, with elements drawn from your own culture. With this, you become a better storyteller and a better screenwriter," says Farhad Eyvazi.
He adds, "Of course, the audience will also better grasp a story that is told in their own language, an event they watch in their own language. They will internalize it more easily and connect with it. This is something necessary for both sides: telling the story in your own language and with the codes of your own community."
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| The Ark brothers were awarded the Cinéfondation Selection prize at the Cannes Film Festival last May. |
The Tabriz-born director also highlights the necessity of progress in terms of quality alongside making films in Turkish: "It's not just about saying we made films in Turkish and the job is done. The films we make need to be stronger. Recently, we saw the film Home. It is truly a promising film. The Erk brothers are making excellent films. I believe they have paved the way. The young filmmakers who follow them will follow this path. The future will be better."
Attracting support from the private sector
Eyvazi emphasizes the importance of financial support and material resources in the art of cinema and also evaluates how to attract the support of the private sector.
He says, "One leg of cinema is art, and the other leg is money. The issue of sponsorship is very important. This is the case in many parts of Iran. In Azerbaijan, this is even more critical for young people. Because opportunities are limited and our private sector still doesn't know what cinema is. Young people need to do something. They must prove themselves."
Farhad Eyvazi points out that it is unrealistic to expect support from the private sector without offering any benefit to them.
"A few friends should help each other by taking on different roles in each other's projects. If they wait to find a sponsor first and then make a film, this will lead us to stagnation... Once they prove themselves, after showing their work in several festivals, they can knock on the door of the private sector... If we assess the matter not idealistically but from a commercial standpoint, the private sector will look at how supporting this film will benefit them, how much publicity it will bring them. Therefore, when these young filmmakers knock on the door of the private sector, they should be able to say, 'Look, my film has been shown in these festivals, and if you support me, this will be advertising for you.' This is how it works everywhere in the world. Looking at it from a realistic perspective, the private sector will ask, 'What will you give me in return for the money I am giving you?'"
Waiting for support just because the film is in Turkish could backfire
Eyvazi believes that expecting support simply because the film is in Turkish will not only be unhelpful but could also be harmful:
"If I say, 'I am making a Turkish-language film in Iranian Azerbaijan, so the private sector should give me money!' I think even saying this can harm cinema. Not everyone who makes a film in Turkish should receive support. The support should go to a director who can produce strong works."
Link to the original interview in Turkish on the Azerbaijani section of Voice of America:
İranda türk dilində film çəkənlər özəl sektorun dəstəyini necə ala bilər?