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Banietemad has an interest and an attraction to strong female characters dealing with social issues.<ref name="firouzanfilms.com" /> In her more recent films, she features female characters from lower classes and incomes who are struggling to make a living.<ref name="jstor.org" /> She highlights the strength and resilience of Iranian women as the hope for the country's future. According to the filmmaker, despite the legal and cultural barriers and the economic hardships for lower-income women, their strong nature is an admirable quality of women in Iran.<ref name="firouzanfilms.com" /> In addition, her films focus on the complex relationships between mothers and their children. This stems from her own experience as a mother in Iran, but also from the Iranian woman's inability to tackle her life without considering her maternal role — a reality that is deeply ingrained in the Iranian patriarchal structure.<ref name="facets.org" />
Banietemad has an interest and an attraction to strong female characters dealing with social issues.<ref name="firouzanfilms.com" /> In her more recent films, she features female characters from lower classes and incomes who are struggling to make a living.<ref name="jstor.org" /> She highlights the strength and resilience of Iranian women as the hope for the country's future. According to the filmmaker, despite the legal and cultural barriers and the economic hardships for lower-income women, their strong nature is an admirable quality of women in Iran.<ref name="firouzanfilms.com" /> In addition, her films focus on the complex relationships between mothers and their children. This stems from her own experience as a mother in Iran, but also from the Iranian woman's inability to tackle her life without considering her maternal role — a reality that is deeply ingrained in the Iranian patriarchal structure.<ref name="facets.org" />


In her most recent film, Tales (2014), she seamlessly intersects seven stories. In these narratives, Banietemad's most memorable women characters once again take the stage, reminding audiences of the historical and cultural significance of her previous films and how she has shaped the history of Iranian cinema in terms of the representation of women.<ref name=":2" />
In her most recent film, ''Tales'' (2014), she seamlessly intersects seven stories. In these narratives, Banietemad's most memorable women characters once again take the stage, reminding audiences of the historical and cultural significance of her previous films and how she has shaped the history of Iranian cinema in terms of the representation of women.<ref name=":2" />


Despite the predominance of strong female protagonists in her work, Banietemad is not to be associated with feminist filmmaking. Banietemad has explicitly rejected the label often applied to her by Western film festivals as a "feminist filmmaker." She is more concerned with the universal struggle of society’s lower rungs, regardless of gender. She does not identify with the label due to the implications of the word "feminist," which in Iran has a more negative connotation than in America. According to Banietemad, as long as the understanding of the term remains in Iran, she will disassociate from the label.<ref name="firouzanfilms. Banietemad is recognized for combining the tropes of fiction and documentary film into her unique style. It is hard for her to separate the two, and she finds that documentary elements often come into play as she is doing the research and shooting of her films. Her unique style emerged from her passion for representing the reality of Iranian society as accurately as possible. To achieve authenticity and reflect reality, Banietemad personally spends time living in the conditions of the people she reflects in her characters. She relies on experience rather than research to provide a realistic portrayal. With her knowledge of the contemporary social issues she tackles, the filmmaker lives with families similar to her own characters prior to production to understand their conditions. For her 2005 film ''Gilaneh,'' Banietemad spent a year and a half living in the village of Espili, observing the day-to-day lives of a war-torn population still suffering the repercussions of war, fifteen years after the Iran-Iraq war. In dramatizing reality, she applies documentary conventions to reflect reality intimately.<ref">Laurier, Joanne. Walsh, David. [http://www.wsws.org/articles/2005/oct2005/bani-o03.shtml "An Interview with Rakhshan Banietemad, co-director of ''Gilaneh.''"] World Socialist website. 3 Oct. 2005. International Committee of the Fourth International. 4 May 2012.</ref>
Despite the predominance of strong female protagonists in her work, Banietemad is not to be associated with feminist filmmaking. Banietemad has explicitly rejected the label often applied to her by Western film festivals as a "feminist filmmaker." She is more concerned with the universal struggle of society’s lower rungs, regardless of gender. She does not identify with the label due to the implications of the word "feminist," which in Iran has a more negative connotation than in America. According to Banietemad, as long as the understanding of the term remains in Iran, she will disassociate from the label.<ref name="firouzanfilms. Banietemad is recognized for combining the tropes of fiction and documentary film into her unique style. It is hard for her to separate the two, and she finds that documentary elements often come into play as she is doing the research and shooting of her films. Her unique style emerged from her passion for representing the reality of Iranian society as accurately as possible. To achieve authenticity and reflect reality, Banietemad personally spends time living in the conditions of the people she reflects in her characters. She relies on experience rather than research to provide a realistic portrayal. With her knowledge of the contemporary social issues she tackles, the filmmaker lives with families similar to her own characters prior to production to understand their conditions. For her 2005 film ''Gilaneh,'' Banietemad spent a year and a half living in the village of Espili, observing the day-to-day lives of a war-torn population still suffering the repercussions of war, fifteen years after the Iran-Iraq war. In dramatizing reality, she applies documentary conventions to reflect reality intimately.<ref">Laurier, Joanne. Walsh, David. [http://www.wsws.org/articles/2005/oct2005/bani-o03.shtml "An Interview with Rakhshan Banietemad, co-director of ''Gilaneh.''"] World Socialist website. 3 Oct. 2005. International Committee of the Fourth International. 4 May 2012.</ref>

Revision as of 14:05, 15 October 2023

Rakhshan Banietemad
رخشان بنی‌اعتماد
Banietemad, March 2014
Born
Rakhshan Banietemad

(1954-04-03) April 3, 1954 (age 70)
Tehran, Iran
Occupation(s)Film director
Producer
Screenwriter
SpouseJahangir Kosari (1979–present)
ChildrenBaran (b. 1985)
Tandis (b. 1975)

Rakhshān Banietemad (Template:Lang-fa; born April 3, 1954, in Tehran, Iran) is an internationally and critically acclaimed Iranian film director and screenwriter who is widely considered a premier female director and her films have been praised at international festivals as well as being popular with Iranian critics and audiences.[1] Her title as "First Lady of Iranian Cinema" is not only a reference to her prominence as a filmmaker, but also connotes her social role of merging politics and family in her work.[2] Her signature style is that she focuses on a character representing a part of society to explore it while staying objectively neutral. The first period of Banietemad's cinematic activity originates from dark humor. Still, in the second period of her work, dark humor gives way to serious and influential films, and deeper and broader issues are addressed. Banietemad has a more realistic view of life.[3]

She excels in representing contemporary situations, often about the changing roles of women but also covering a broad spectrum of social issues, including war, poverty, domestic abuse, and class mobility. Banietemad's characters embody a sense of nostalgia in that women like Tooba (Golab Adineh), Nobar (Fatemah Motamed-Aria), and Sara (Baran Kosari) have become iconic. Yet, in revisiting these characters, they are rewritten, re-described, and reinvigorated in dialogue with Iran's present. An oral history of Rakhshan Banietemad's career offers a rich lens into Iranian cinema and culture over nearly three decades.[4]

In the early stages of her career, documentaries were her dominant form of filmmaking. Even after she gained international esteem for her dramatic features, she continued to make documentaries with tremendous success. Our Times (Ruz-egar-e ma, 2002), for example, was the first documentary ever to be released in movie theaters in Iran. It was broadcast on the Franco-German television network ARTE and shown at prestigious festivals such as the International Documentary Film Festival Amsterdam and the Sundance Film Festival. Banietemad's documentary practice has been so effective that her works often change the lives of her subjects. She says she has “never ended the strong connection that she has always felt with documentaries.”[4]

Early life and education

Rakhshan Banietemad was born in Tehran, Iran, on April 3, 1954, into a middle-class family. While her parents wanted her to pursue a career in teaching, she demonstrated an interest in film from a young age. As a teenager, she decided to study film. She received her Bachelor of Arts degree in film studies from the Dramatic Arts University in Tehran.[5] Banietemad had originally planned to study architecture. When she was about to enter university, she took an exam to enter an intensive course in stage assistance offered by the school of television and cinema, and she was one of the 20 people that got in. She studied architecture and stage assistance together, but the next year she took the national exam for the faculty of dramatic arts and chose to study film directing.[4]

Career

1970s and 1980s

Banietemad started her directing career with documentaries. Some of her early works are The Culture of Consumption (Farhang-e masrafi), Occupation of Migrant Peasants in the City (Mohajerin-e roustai dar shahr) and The War Economic Planning (Tadbirha-ye eqtesadi-e jang). The effect of her early documentary filmmaking can be seen in her narrative films later on.[6]

In 1973, shortly after completing her degree, Banietemad began working for the Iranian television network IRIB (Islamic Republic of Iran Broadcasting) as a script supervisor. Later on, in 1980, she began directing television documentary features.[5] Her films are steeped in Iran's social and economic problems.[7]

Banietemad has repeatedly mentioned that her stories come from the development of characters she saw during her documentary filmmaking. For example, the story of Nargess is from a documentary made to study homeless women, the character of Touba in the film Under the Skin of the City is the result of her research in a documentary on working women, and the character of "Kabootar" in the movie The Blue Veiled comes out of the character of a rough and harsh woman who was even called "Mr. Ghodrat" (Ghodrat means a power which is a male name).[6]

In 1981, Banietemad began working in cinema as a script supervisor on films such as The Liegemen and Chrysanthemum. In 1987, she directed her first feature film Off the Limits. She then revised the script for Canary Yellow and directed it.[3]

1990s to Present

Banietemad did not receive immediate praise upon entering the film industry. Her early feature films were met with harsh criticism. However, she finally earned critical and popular success in 1991 with her film Nargess.[5] She received the Best Director Award from the Fajr Film Festival, marking the first time in the history of the festival that a woman was awarded the Best Director prize. Since then, she has received numerous awards for her films, including a Bronze Leopard Award for The Blue-Veiled at the 1995 Locarno Film Festival.[5] Under the Skin of the city won her the Best Foreign Language Film Award and the Audience Award at the 2001 Turin Film Festival.[3]

At the beginning of the 2000s, Banietemad returned to filmmaking after a period of absence by directing Gilaneh. Gilaneh considered an anti-war film, was nominated for three Crystal Simorghs at the Fajr Film Festival and won a Simorgh for best make-up and a special jury award. Also, Fatemeh Motamedaria won the best actress award.[3]

Mainline and Tales were other works of Banietemad in the early 2000s which Banietemad wrote, directed, and produced.[3] Her film Tales was selected to compete for the Golden Lion at the 71st Venice International Film Festival.[8][9]

Documentary Films

While Banietemad's feature films have been acclaimed and honored worldwide, her documentaries have also been successful and popular internationally. Our Times… (2002) was the first documentary ever released in movie theatres in Iran. It was also screened in prestigious and prominent festivals and TV channels such as IDFA, Sundance Film Festival, and ARTE.

Documentaries have been her main way of connecting with society and social issues. Indeed, her feature films' realistic aspects and authentic feel stem from her documentary style of life and social matters. Her approach in making documentaries and in depicting social issues has been so strong and effective that her works have always resulted in causing a change in the lives of her documentaries' subjects. Her documentaries center on poverty, criminality, divorce, polygamy, social norms, cultural taboos, women's oppression, and cultural expectations.

With her 2002 film Our Times, Banietemad became the first female filmmaker to explicitly confront the Iran-Iraq war, placing her in an important role in Iranian film history.[5] She has challenged censorship codes to the very edge.[10]

In the 2010s, Banietemad started making documentaries again, producing and collaborating with young filmmakers. Hey, Humans (2016), The Karastan film series (2013-2017) are notable documentaries of this period of Banietemad’s work.[3]

Style

Banietemad has an interest and an attraction to strong female characters dealing with social issues.[5] In her more recent films, she features female characters from lower classes and incomes who are struggling to make a living.[10] She highlights the strength and resilience of Iranian women as the hope for the country's future. According to the filmmaker, despite the legal and cultural barriers and the economic hardships for lower-income women, their strong nature is an admirable quality of women in Iran.[5] In addition, her films focus on the complex relationships between mothers and their children. This stems from her own experience as a mother in Iran, but also from the Iranian woman's inability to tackle her life without considering her maternal role — a reality that is deeply ingrained in the Iranian patriarchal structure.[7]

In her most recent film, Tales (2014), she seamlessly intersects seven stories. In these narratives, Banietemad's most memorable women characters once again take the stage, reminding audiences of the historical and cultural significance of her previous films and how she has shaped the history of Iranian cinema in terms of the representation of women.[4]

Despite the predominance of strong female protagonists in her work, Banietemad is not to be associated with feminist filmmaking. Banietemad has explicitly rejected the label often applied to her by Western film festivals as a "feminist filmmaker." She is more concerned with the universal struggle of society’s lower rungs, regardless of gender. She does not identify with the label due to the implications of the word "feminist," which in Iran has a more negative connotation than in America. According to Banietemad, as long as the understanding of the term remains in Iran, she will disassociate from the label.[11]

In conjunction with her documentary approach to fictional film, Banietemad's signature style consists of films that deal with social issues specific to Iran yet still maintain broad international appeal. She is recognized for reflecting the struggles of Iran's lower classes, the plight of single women and single mothers in Iran, and complicated family relationships. She often examines the duality of human nature in familial and workspaces. To accommodate documentary conventions, her characters directly address the camera.[5]

Legacy

With a collection of films that combine absolute honesty with extraordinary subtlety, Banietemad analyzes the current cultural pressures shaping Iranian women's lives.[12] She is widely recognized among Iranian audiences and critics as one of Iran's most prominent filmmakers, and has also enjoyed international popularity.[5]

She was awarded an honorary degree from SOAS in 2008.[13]

Personal life

She is the wife of Iranian film producer Jahangir Kosari. Her daughter is an Iranian actress Baran Kosari, who has worked with her mother throughout her films. Kosari began acting at a young age and is now a professional actress. She has appeared in her mother's films, as well as those of other Iranian filmmakers.[7]

Humanitarian actions

Banietemad donated her international prize for the movie Ghesseh-ha to build a shelter for homeless women. She also donated some of her awards to help disadvantaged women.

Filmography

Feature films

Year Title Role
Director Writer Producer
1987 Off the Limits (Kharej az Mahdudeh) Yes
1988 Canary Yellow (Zard-e Qanari) Yes
1989 Foreign Currency (Poul-e Khareji) Yes
1991 Nargess Yes Yes Yes
1995 The Blue Veiled (Rusari Abi) Yes Yes
1998 The May Lady (Banu-ye Ordibehesht) Yes Yes
1999 Baran and the Native (Baran va Bumi) Yes Yes
2001 Under the Skin of the City (Zir-e Poost-e Shahr) Yes Yes Yes
2004 Gilaneh Yes Yes
2006 Mainline (Khun Bazi) Yes Yes Yes
2009 Heiran Yes
2014 Tales (Ghesseh ha) Yes Yes Yes

Documentaries

Honors and awards

Year Title Festival Award Category Result Notes References
1991 Nargess 10th Fajr International Film Festival Simorgh Best Director Won [14]
Best Screenplay Nominated [15]
1994 The Blue Veiled 13th Fajr International Film Festival Simorgh Best Director Nominated [16]
Best Screenplay Won [17]
Iranian Cinema Directors Association Seemeen Best Director Won [18]
1995 Locarno International Film Festival Bronze Leopard Won
1996 Tessaloniki International Film Festival (Greece) FIPRESCI Won [19]
1997 The May Lady 16th Fajr International Film Festival Special Jury Prize Best Director Won [20]
1998 Montreal World Film Festival FIPRESCI Hounarable Mention Won [21]
2nd Iranian Cinema Festival Best Director Nominated [22]
2000 Under the Skin of the City 4th Iranian Cinema Festival The best film selected by the Critics and Writers Association Nominated [23]
Best Screenplay Nominated Joint with Farid Mostafavi
Best Film Nominated
Best Director Won
Moscow International Film Festival Special Jury Prize Won
2001 Karlovy Vary International Film Festival (Czech) Netpac Won [24]
Turin International Film Festival (Italy) Best Screenplay Won Joint with Farid Mostafavi
Audience award Won
Cinemavenire Best Film Won
2002 Seattle International Film Festival Special Jury Award Won
Our Times Locarno International Film Festival Netpac Won
2005 Gilaneh Kara International Film Festival Best Film Won
Iranian Women Film Directors Golden Lotus Won
10th Holy defense Festival (Iran) Special Jury Prize Best Director Won Joint with Mohsen Abdul Wahab [25]
2006 Vesoul Asian Film Festival (France) Netpac Won Joint with Mohsen Abdul Wahab [26]
Las Palmas de Gran Canaria International Film Festival (Spain) Special Jury Prize Won
2007 Mainline Asia Pacific Screen Awards Best Director Won Joint with Mohsen Abdul Wahab [27]
25th Fajr International Film Festival Simorgh Best Screenplay Won Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini [28]
Asiatica Film Mediale (Italy) Best Film Won
City International Film Festival (Iran) Best Film Won
11th Iranian Cinema Festival Best Screenplay Nominated Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini [29]
Best Director Won Joint with Mohsen Abdul Wahab
2008 International Women's Film Festival (Creteil, France) Grand Jury Prize Won [30]
Pyongyang International Film Festival (North Korea) Best Screenplay Won Joint with Mohsen Abdul Wahab, Farid Mostafavi, Naghme Samini
Dhaka International Film Festival (Pakistan) Special Jury Prize Won
2014 Tales Venice International Film Festival (Italy) Best Screenplay Won Joint with Farid Mostafavi [31]
Kolkata International Film Festival (India) Golden Royal Bengal Tiger Best Film Won
Asia Pacific Screen Awards (Australia) Special Jury Prize Won [32]
32nd Fajr International Film Festival Best Film Nominated [33]
The 17th Iranian Cinema Festival Best Film Nominated [34]
Best Director Nominated
Best Screenplay Nominated Joint with Farid Mostafavi
2015 London Iranian Film Festival (UK) Best Film Won
Gene Siskel Film Center (USA) Audience Award Won
2016 Prague Iranian Film Festival (Czech) Best Film Won

Professional distinctions

Further reading

  • Cobbey, Rini. "Under the Skin of the City; Under the Surface Contrasts." Film in the Middle East and North Africa. Ed. Josef Gugler. Austin: Texas UP, 2011. 84-93.
  • "Rakhshan Banietemad." Firouzan Films. 2011. Firouzan Films.
  • Moruzzi, Norma Claire. "Women in Iran: Notes on Film and from the Field." Feminist Studies. 27.1(2001): 89-100.
  • Whatley, Sheri. "Iranian Women Film Directors: A Clever Activism." Off Our Backs. 33.3/4(2003): 30-32.

See also

References

  1. ^ Banietemad film season in London – Irna Archived 2009-05-05 at the Wayback Machine
  2. ^ Cobbey, Rini. "Under the Skin of the City; Under the Surface Contrasts." Film in the Middle East and North Africa. Ed. Josef Gugler. Austin: Texas UP, 2011. 84-93.
  3. ^ a b c d e f "درباره رخشان بنی‌اعتماد". ایرنا (in Persian). 2020-04-02. Retrieved 2021-12-01.
  4. ^ a b c d Armatage, Kay; Khosroshahi, Zahra (2017-01-01). "An Interview with Rakhshan Banietemad". Feminist Media Histories. 3 (1): 140–155. doi:10.1525/fmh.2017.3.1.140. ISSN 2373-7492.
  5. ^ a b c d e f g h i "Rakhshan BaniEtemad." Firouzan Films. 2011. 3 May 2012
  6. ^ a b "مرور کارنامه رخشان بنی اعتماد، مترجم دردها". www.bartarinha.ir. Retrieved 2021-12-07.
  7. ^ a b c Alissa Simon. "Interview with Rakhshan Banietemad." Archived 2012-07-29 at archive.today Facets. 3 May 2012.
  8. ^ "International competition of feature films". Venice. Archived from the original on 6 October 2014. Retrieved 24 July 2014.
  9. ^ "Venice Film Festival Lineup Announced". Deadline. 24 July 2014. Retrieved 24 July 2014.
  10. ^ a b Whatley, Sheri. "Iranian Women Film Directors: A Clever Activism." Off Our Backs 27.1 (2003): 30-32. JSTOR. McHenry Lib., Santa Cruz, CA. 2 May 2012.
  11. ^ Laurier, Joanne. Walsh, David. "An Interview with Rakhshan Banietemad, co-director of Gilaneh." World Socialist website. 3 Oct. 2005. International Committee of the Fourth International. 4 May 2012.
  12. ^ Moruzzi, Norma Claire. "Women in Iran: Notes on Film and from the Field." Feminist Studies. 27.1(2001): 89-100. JSTOR. McHenry Lib., Santa Cruz, CA. 4 May 2012.
  13. ^ a b "SOAS Honorary Fellows". SOAS.
  14. ^ ".: Iranian Movie DataBase تمام جشنواره های مربوط به :". www.sourehcinema.com. Retrieved 2021-12-01.
  15. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره بين المللي فيلم فجر ـ دوره دهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  16. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره سيزدهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  17. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره بين المللي فيلم فجر ـ دوره سيزدهم :". www.sourehcinema.com. Retrieved 2021-12-01.
  18. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره كانون كارگردان هاي سينماي ايران :". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-01.
  19. ^ "36th Thessaloniki International Film Festival". Retrieved 2021-12-02.
  20. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره شانزدهم :". www.sourehcinema.com. Retrieved 2021-12-02.
  21. ^ "انقلاب اسلامی و تحول در نسل فیلمسازی زنان ایران - ایرنا". 2020-01-14. Archived from the original on 14 January 2020. Retrieved 2021-12-02.
  22. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره دوم :". www.sourehcinema.com. Retrieved 2021-12-02.
  23. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره چهارم :". www.sourehcinema.com. Retrieved 2021-12-02.
  24. ^ "بخش مسابقه‌ی جشنواره‌ی "کارلووی‌واری" امسال بدون سینمای ایران - ایسنا". 2020-01-14. Archived from the original on 14 January 2020. Retrieved 2021-12-02.
  25. ^ ".: Iranian Movie DataBase جوايز اهدا شده در جشنواره دفاع مقدس ـ دوره دهم :". 2011-07-07. Archived from the original on 7 July 2011. Retrieved 2021-12-02.
  26. ^ "Mohsen Abdolvahab - Festival des Cinémas d'Asie de Vesoul". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-02.
  27. ^ "Asia Pacific Screen Awards Winners Announced". AsiaPacificScreenAwards.com. Retrieved 2007-11-14.
  28. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره بين المللي فيلم فجر ـ دوره بيست و پنجم :". www.sourehcinema.com. Retrieved 2021-12-02.
  29. ^ ".: Iranian Movie DataBase موضوعات جوايز در جشنواره جشن خانه سينما ـ دوره يازدهم :". www.sourehcinema.com. Retrieved 2021-12-02.
  30. ^ "RFI - خون بازی، بهترین فیلم فستیوال زنان". www1.rfi.fr. Retrieved 2021-12-02.
  31. ^ Vivarelli, Nick (2014-09-06). "'Pigeon' Soars, 'Birdman' Snubbed at Venice Awards". Variety. Retrieved 2021-12-03.
  32. ^ "Rakhshan Banietemad for Tales (Ghesseha) - Asia Pacific Screen Awards". 2020-11-08. Archived from the original on 8 November 2020. Retrieved 2021-12-03.
  33. ^ "نامزدهای بخشهای اصلی سی و دومین دوره جشنواره فیلم فجر معرفی شدند | خبرگزاری ایلنا". 2020-11-08. Archived from the original on 2020-11-08. Retrieved 2021-12-03.
  34. ^ "نامزدهای هفدهمین جشن خانه سینما اعلام شد". خبرگزاری مهر | اخبار ایران و جهان | Mehr News Agency (in Persian). 2015-08-30. Retrieved 2021-12-03.
  35. ^ "Martin Scorsese, Istvan Szabo to be honoured at Iffi 2021". Times of India. 23 October 2021. Retrieved 31 October 2021.
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