Interview with Inaz Javan: Film Director and Award-Winning Actress

 
Inaz Javan: B.A. in Theater Acting from the University of Art and Architecture of Tehran. M.A. in Theater Directing from Tarbiat Modares University of Tehran. Graduated in Cinema Directing from the Young Cinematographers Association of Tehran. Graduated in Playwriting from Alborz Theater.

Winner of prestigious international film awards including:
- Lotus International Film Festival
- Oned Art Slash Experimental Film Festival
- Wide Screen Film Festival
- Festival del Cinema di Cefalù - 2023
- Real International Micro Video Competition
- Kalakari Film Festival - 2022/2023
- BUEISFF - British University International Students Film Festival
- Max Sir International Film Festival
- Future Vision Festival - 2022
- Independent Video Film Festival of YouTube
- Art Club Pavlos Paraschakis, Greece
- Festival del Cinema di Cefalù - 2022
- Student World Impact Film Festival - 2023
- IGAF International Golden Awards Festival 2023
- 3SD Black Cat Award International Film Festival 2023
- Egyptian American Film Festival
- Clapper Board Golden Festival
- Festival de Cinema de Alter do Chao - 2022
- Zanzibar International Film Festival - 2023
- Festival de Cinema Estudantil de Guaiba
- 10th Mumbai Shorts International Film Festival - 2021

https://www.youtube.com/shorts/vHyyvUwqB-4 
- Pune Short Film Festival

1. Could you share some details about the films you have worked on in the past?  
  I have worked on a few short films and also a short screenplay independently, as well as in collaboration with Pedram Sadraei's film school. My work explores the identity of man and object, as well as metamorphosis, in relation to biological, social, economic, and cultural developments, alongside the complex relationships humans have with their own species and the world around them. I have addressed these themes through unique performances.

2. What current film projects are you working on, and how do they differ from your previous work?  

 I am currently in the pre-production stage of a semi-length work called "Anti-Goat" and also a feature film titled "Red Cloak." Both works are distinct from my previous performances and are situated within a postmodern context, particularly focusing on the influence and importance of actors concerning the script and promoting all cinematic elements democratically to create a dramatic picture of today's human condition.

3. What inspired you to pursue a career in filmmaking, and how has that inspiration evolved over time?  
  As a child, I was very interested in reading and watching movies of any genre. I entered this field both professionally and academically. Initially, I had a special interest in circus and performing arts, graduating with top honors in this field. My passion for theater eventually connected me to cinema through circus arts, film, and sometimes poetry.

4. How do you approach storytelling through film, and what themes or messages do you find most important to convey?  
  In my opinion, by choosing a topic, a filmmaker selects a template that delves into their subconscious. Whatever they achieve is a reflection of their intellectual, practical, and even dream life; the story of every film is part of the filmmaker's existence. The message conveyed to the audience cannot be entirely coherent or premeditated. It involves assembling a puzzle that reflects both the filmmaker's conscious and unconscious mind. I do not believe in predetermined slogans.

5. Can you describe a significant challenge you've faced in your filmmaking career and how you overcame it?  
  The main challenge is funding and gaining producers' trust in filmmakers, which unfortunately takes precedence in my country's cinema landscape. This issue causes anxiety among artists like myself. After completing my university degrees, publishing books, and winning numerous international awards, I still find it challenging to secure producers for more professional works that require higher material costs and quality.

6. What filmmakers or films have influenced your style and vision the most?  
  The cinema of Federico Fellini, David Lynch, exotic and unconventional cinematographic styles in short works, as well as Asghar Farhadi's films, have influenced me significantly. I also admire the minimalist and feminine cinema of Chantal Akerman and Dario Fo's political and sarcastic views on the human condition.

7. Where do you see the future of the film industry heading, and how do you plan to adapt to those changes?  
  While I fear the entry of artificial intelligence into this industry—I am a strong advocate for classic filmmaking that emphasizes human factors—considering the rapid pace of technological progress means this form of filmmaking can no longer remain static. Therefore, it is essential to seek balance without harming human presence or the spirit of humanity in this industry. Ultimately, films are made for humanity and its concerns.