Author: Hamid Rostami

Hamid Rostami, born in 1975, Electrical Engineer and Master of Arts in Journalism. Collaborated with the newspapers Jahan-e Football, Donyaye Football, and Etemad. Nominee for Best Written Satire at the National Press Festival in 2005. Editor-in-chief of Mehr Ardabil magazine for two years. Editor-in-chief of Saray magazine for six years. Editor-in-chief of Daghdagheh magazine for two years. Member of the editorial board of Haft-e Sobh newspaper from 2017 to 2025. Member of the editorial board of Film-e Emrooz magazine from 2020 to the present.

Iranian cinema is full of faces that once shone like bright stars—actors who created unforgettable roles, stirred hearts, and mesmerized audiences. But sometimes fate and difficult circumstances lead some of these stars into early silence—actors who, despite talent and hard work, for various reasons, faded from the spotlight and slipped into oblivion. This article offers a bittersweet look at the lives and careers of a few of these “lost souls of the silver screen”—faces whose stories are woven with both light and shadow, and whose memories still live on in the hearts of cinema lovers. 1. Farimah Farjami in Narges…

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Death in The Paternal House by Kianoush Ayari is not merely a simple death—it is a familial crime so heinous and brutal that no one dares to speak of or reveal it for years. This curse, this unholy act, clings to the perpetrators and casts a shadow over the fate of every family member, to the extent that even generations later, there is no escaping it. The terrifying atmosphere of the basement, where the audience is aware a girl was murdered and buried by her own father and brother, gains a presence of its own—so much so that even its…

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1. The scene of Farman’s murder in the film Qeysar by Masoud Kimiaei stands as a kind of turning point in the history of Iranian cinema. Beyond introducing a young and unconventional filmmaker to the dominant cinematic landscape of the time, this film opened a new path in the Film Farsi tradition—where even the deaths of heroes used to be treated lightly. Farman appears in this film as one of the last cinematic figures of a generation that still, at times, heeds the advice of elders—walking into the slaughterhouse without a knife, fully aware that death awaits. His death paves…

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