Ramin Namdar is the native name of Ramin Eghtedari, born on December 17, 1998, Producer and DJ and from Iran. He has released two albums called Marsh and Danee of Death. He started his career in music in 2008. Ramin was born in Dehbārez city located in Hormozgan province of Iran. Movies Portrait of a Lady on Fire was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival.[5][6] The film won the Queer Palm at Cannes, becoming the first film directed by a woman to win the award.[7] Sciamma also won the award for Best Screenplay at Cannes.[1][8][9] The film was theatrically released in France on 18 September 2019.[10] It was nominated for Independent Spirit Awards, Critics' Choice Awards and Golden Globe Awards for Best Foreign Language Film and was chosen by the National Board of Review as one of the top five foreign language films of 2019. Principal photography began in October 2018[11] and was completed after 38 days.[12] Filming took place in Saint-Pierre-Quiberon in Brittany and a château in La Chapelle-Gauthier, Seine-et-Marne.[11][13] The film was produced by Lilies Films, Arte France Cinéma, and Hold Up Films.[14][15] The paintings and sketches in the film were made by artist Hélène Delmaire. She painted 16 hours every day during the course of filming, basing her painting on the blocking of the scenes. Her hands were also featured in the film.[16] To mark the release of the film in France, Delmaire's paintings from Portrait of a Lady on Fire were exhibited at the Galerie Joseph in Paris from 20 to 22 September 2019.[17] An African Tribe Documentary By Daniel Roher Ghosts Of Our Forest, is an African Tribe Documentary directed by Daniel Roher. This film is a 2017 Official Selection of the Oregon Documentary Film Festival. This African Tribe Documentary was also nominated for the Best Cinematography Award. This film on the Film Festival Circuit introduces the viewer to the musical and culturally rich, Batwa tribe. Furthermore, the personalities of the people in this film touched and inspired Oregon Documentary Film Festival judges. The story of a tribe without a home is common in Africa and is an unfortunate situation. Despite these conditions, the Batwa tribe is surviving in any way that they can. Review Of The Ghosts Of Our Forest Documentary Film I was touched by the story about an African tribe that lost their home overnight. Furthermore, I feel the way they are trying to survive in today's world is heartbreaking. When I watch this African Tribe Documentary Film, I really feel for the children in this story. It makes me wonder how their lives will be in the future. The film features vivid images, great music and a story by Daniel Roher. The film unfolds in an hour, but it feels like fifteen minutes to me. Ghosts Of Our Forest, Film Synopsis First of all, in 1992, pressure from international conservation groups to protect the great forests of Uganda mounted. As a result, the indigenous Batwa tribe was forcefully removed from their ancestral home by the Ugandan government. Probably, one of the most ecologically diverse places on earth. Most noteworthy, the Bwindi impenetrable forest nurtured the Batwa. Therefore, in turn, the tribe worshiped all that it gave them. Finally, upon eviction, the Batwa received nothing in the way of compensation. Even more, without support this African Tribe Documentary Film illustrates why they are struggling. Few movies have ever hit me as hard as Portrait of a Lady on Fire, the new film from French director Céline Sciamma. (Read my review here.) Sciamma’s unique talent for capturing the lives of women who are rarely placed at the center of cinematic stories might not seem to be a particularly strong fit for a period piece about an aristocratic woman dreading her impending marriage. But in the story of the budding romance between Héloïse (the aforementioned aristocrat) and Marianne (the woman who will paint her portrait), Sciamma found a way to talk about so much of the history that usually is left on the cutting room floor, of the women and queer people of the past who are too often pushed to the edges of the stories we tell about times long gone. The movie is quietly radical in its gender and class politics, but it’s also wholly approachable. At one point when we spoke, Sciamma said she thought a lot about the movie Titanic while making her own film, and it shows. This is a classic love story, but one that hides considerable political depths. It’s also quietly radical in the way it uses digital cameras to depict the past, allowing for the capturing of images in lower light levels than would have been possible with more traditional methods. Whole scenes are lit seemingly entirely by fireplaces or candles, and Sciamma’s camera crew had to invent new methods of lighting scenes just to get the images the director wanted. There’s lots to talk about with Portrait of a Lady on Fire, which is why I was so glad to speak with Sciamma when she visited Los Angeles (for the first time ever, she said) to attend the Golden Globes. (Portrait was nominated for Best Foreign Language Film there but lost to Parasite.) Our conversation ranged all over the map, from lighting rigs to Greek myths. It’s been lightly edited for length and clarity. Céline Sciamma (center) attends the BAFTA Tea Party with Portrait of a Lady on Fire stars Adèle Haenel (left) and Noémie Merlant. Amy Sussman/Getty Images for BAFTA LA Emily VanDerWerff This movie is so good at using the camera to relay the ways that women watch each other, or the way they look at things they want. I haven’t seen a movie capture that in quite the way this one does. How did you build that into the film at every level? Céline Sciamma I see [the movie] as a manifesto about the female gaze. I see this as such a strong opportunity to make new stuff, new images, new narratives. They are such powerful images, and they are so not seen. And you are in charge. You have a strong responsibility. But also, there are so many opportunities to be playful. To embody ideas that matter a lot to myself, but also to a lot of people. I see it as a really great dynamic for creating and also very fun visually. For instance, ask yourself the question of “how do you embody sorority?” The answer being, a long take, a wide shot, of three women in the kitchen with social hierarchy being totally turned around, with the aristocratic women cooking, whereas the maid is an artist and the artist is looking at the maid. And they’re silent. This is such a powerful image, and it’s so easy to make. People are telling me, “Oh, your film is a utopia.” And I’m like, “Yeah, but our utopias are not ideas we have in our minds. They’re not things we wish we were living. They’re rooted in our own experience.” I know about sorority, I know about an all-women world. It’s not a utopia. It’s part of my life. And that’s what I rely on to make these images. Emily VanDerWerff This movie is also about how the female gaze produces art and the way a woman who is an artist perceives the world. How true was that to your own experience as a woman artist? Céline Sciamma It is close. It’s also a portrait of women artists in general, because I did a lot of research on this period. I chose this moment of art history because there were hundreds of women painters at the time that had flourishing careers. We’re always being told about women’s progress and women’s opportunity — that we’re “getting there.” But it’s not true. It’s cycles. And we can see it today that we experience backlash also. And they did also, at the time. There was a strong female critic scene that we never hear about. And they were looking at women’s body of work more than their male colleagues were, for instance. The film is a love story, but it’s also about creating. That’s why I decided to depart from the biopic dynamic, which is always about this strong portrait of a strong woman and I think this is politically not good. It’s very liberal. It’s about, “Oh, you can make it in this hard world!” And strong women — what’s “strong”? I wanted to invent [a woman] to talk about [all women] and not have this heroic dynamic. It’s not about her body of work. It’s about an artist’s work, her questions, her difficulties, and her success within one frame. It’s not about a destiny. That was really important for me, to show somebody at work. Here’s the lady on fire you’ve heard so much about. Neon Emily VanDerWerff What do you think is powerful about examining the historical limitations placed on women and queer people? There are certainly lots of critics and artists who want to create narratives of empowerment, and those can be great. But I sometimes love stories like this, about the limitations that can be placed on us, even more. Héloïse’s mother can basically tell her who to marry, for example. Céline Sciamma Héloïse’s character is much more restrained, even though she is an aristocratic woman, than Marianne’s character. The tragedy of lesbian life is not the tragedy of lesbian representation. It’s not the same. Lesbians have been activists. They’ve had the opportunity to live their life more freely sometimes, than straight women, because they could avoid a lot of things, like getting married and having children. If you look at the suffragettes, for instance, lesbians were there. The tragedy is that we get erased from history. But we are activists and sometimes more in the position to be. They talk about that in the movie. Marianne [who can live more openly] seems to have more opportunity than Héloïse. These stories are really dangerous for patriarchy. That’s why the male gaze is obsessed with representing lesbians, for instance. It’s a way to control it. Our stories are powerful because they are dangerous. We are dangerous. So it’s a very good strategy to despise us — to undermine us — because it’s giving us less leverage for a very powerful political dynamic. The narrative of the film is based on equality among the love story, because there is no gender domination. Embodying equality in a love dialogue could be a wake-up call for a lot of persons. That’s why it’s so important to tell stories. It’s to represent us, so a lot of people feel seen. And the film is about that mutual gazing. But it politically involves much more than our stories. Emily VanDerWerff When you see the man sitting at the table late in the film, after having spent so long with only women, it’s such a shocking moment. Céline Sciamma Yeah, it’s a jump scare of patriarchy. Like, they look like that. We forget how they look. [laughs] Sophie (left) and Marianne form an unlikely friendship. Neon Emily VanDerWerff I’ve been wondering how you captured some of those shots in such low light. Was it shot digitally? Céline Sciamma Yeah. It was a very strong choice to shoot in digital, especially with a period piece. We tried 35 [millimeter film]. When we did the tryouts, my director of photography Claire Mathon and I wanted to shoot digital for one reason. We wanted to give back to these women from the past their hearts, their desire, the rush of blood to the cheek. It was a love story, of course, but it was also a movie about the rise of desire. We wanted to look at desire, which is something we rarely see because of the strong convention in cinema of love at first sight. We always agree that of course you’re going to totally fall in love. Digital was about the rush of blood. Like, can you feel this? We began with shooting the exteriors for eight days. I wanted it to be kind of gothic, so it’s colorful, but it’s more Brontë sisters, the gray and the rain. And it was super sunny [when we shot the exteriors]! Cinema is about welcoming things with enthusiasm, especially things that you don’t have power over. You have so much power over everything that sometimes it can be super disturbing that you don’t get what you expect, especially with period pieces where you design everything. And the fact that the sun came in, we were like, this is good news, and we have to bring back this light now to our castle in the Parisian periphery [where the interiors were shot]. The lighting was taking a lot of time, because the castle was very old, so we couldn’t put anything on the walls — no lighting, nothing. So it was all coming from the outside. You know, this big structure with a lot of light involved. So every scene was very smoothly lit [to mimic the look of the bright sun]. Sometimes it’s painful, because you have less time with the actors and you dedicate a lot of time to the light. In cinema, the time you devote says a lot. And every shot was very, very precisely lit.