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A portrait of Iranian veteran filmmaker Ebrahim Hatamikia

iFilm English website features a profile of Iranian director Ebrahim Hatamikia.

Ebrahim Hatamikia, born on September 23, 1961, is an Iranian filmmaker who has made a significant impact on Iranian cinema.

He is known for his films that portray the effects of the Iraq war on Iran and are highly regarded in the Iranian war cinema. His work is particularly notable for its focus on the social changes brought about by the war.

One of Hatamikia's prominent themes is the trauma caused by the war, both for returning soldiers and those who anxiously await their loved ones' fates. He is recognized as one of the filmmakers of the new generation of Iranian cinema following the Islamic Revolution.

Born in Tehran, Hatamikia began his directing career with short films and documentaries about the Iran-Iraq war. His works have received recognition in national film festivals, and films like ‘The Glass Agency’ and ‘In the Name of Father’ have earned him awards for best screenplay and directing at Fajr Film Festival.

Hatamikia’s early works, such as ‘The Scout’ (1989) and ‘The Immigrant’ (1990), delve into the psychological and sociological impacts of the war on the home front.

In ‘From Karkheh to Rhein’ (1993), he explores the experiences of a disabled veteran on a medical trip to Germany, combining the war theme with tensions related to contact with the West and displacement to foreign lands.

His film ‘The Red Ribbon’ (1999) has been compared to later absurdist dramas by Fernando Arrabal and is known for its dense and highly metaphoric storytelling set in a tank graveyard between Iran and Iraq.

Hatamikia's television series, ‘The Red Soil’ (2002–2003), touches on the complexities of national identity and borderlines during the Iraqi occupation, highlighting the experiences of Iranian and Iraqi Arabs in the in-between spaces.

Hatamikia believes that no Iranian can escape the impact of the war, and his films provide a space for mourning by presenting the nation's losses in a poignant and artistic manner.

Particularly, Hatamikia's melodramas have become a hallmark of war films, and he has also included female characters with visible presences in his films, even if they are not always the central characters.

As we reflect on his remarkable career and the meaningful narratives he has crafted, we look forward to many more years of his creative brilliance. May he continue to inspire us with his storytelling, shedding light on the human condition, and contributing to the rich tapestry of Iranian cinema. 

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