TEHRAN (Iran News) –Dariush Mehrjui, the renowned Iranian filmmaker and screenwriter, and his wife Vahideh Mohammadifar were found murdered at their residence in Karaj, according to reports from Persian media.

The lifeless bodies of the couple were discovered in their villa, both bearing knife wounds to their necks. Their daughter, Mona, made the discovery during a visit on Saturday night.

While reports indicate that Mehrjui was stabbed, there are speculations that his wife may have been suffocated. The motive behind this brutal act remains unknown, and authorities are conducting an immediate investigation to shed light on the circumstances surrounding the murder.

Hossein Fazeli, a judiciary official, confirmed the ongoing investigation and emphasized that the identity of the perpetrator or perpetrators behind this crime is still unclear.

Born in 1939 in Tehran, Mehrjui was a renowned Iranian filmmaker who was known for introducing realism, symbolism, and the sensibilities of art cinema. He played a significant role as a founding member of the Iranian New Wave movement in the early 1970s.

In 1959, Mehrjui moved to the United States to pursue his studies at the University of California, Los Angeles (UCLA) in the Department of Cinema. It was during his time there that he had the opportunity to be taught by Jean Renoir, a renowned filmmaker, who Mehrjui credits for teaching him valuable lessons in working with actors.

However, Mehrjui grew dissatisfied with the film program at UCLA due to its heavy emphasis on technical aspects rather than artistic expression. Consequently, he decided to switch his major to philosophy and graduated from UCLA in 1964.

In 1964, Mehrjui founded his own literary magazine called “Pars Review,” with the aim of introducing contemporary Persian literature to a Western audience.

During this period, he also wrote his first screenplay with the intention of filming it in Iran. Subsequently, he returned to Tehran in 1965 and began working as a journalist and screenwriter. Additionally, he taught literature and English language classes at Tehran’s Center for Foreign Language Studies from 1966 to 1968. He also delivered lectures on films and literature at the Center for Audiovisual Studies through the University of Tehran.

Mehrjui made his directorial debut in 1966 with “Diamond 33,” a parody of the James Bond film series. However, it was his second feature film, “The Cow,” that brought him both national and international recognition. This symbolic film tells the story of a simple villager and his almost mythical bond with his cow.

“The Cow,” along with Masoud Kimiai’s “Qeisar” and Nasser Taqvai’s “Tranquility in the Presence of Others,” played a pivotal role in initiating the Iranian New Wave movement and is considered a turning point in the history of Iranian cinema. Despite disregarding traditional elements of box office appeal, the film was received with great enthusiasm by the public and garnered high praise from film critics worldwide.

After the Islamic Revolution in 1979, Mehrjui resumed his filmmaking career in 1985. He has directed several notable films, including “Hamun” (1990), “Sara” (1993), “Pari” (1995), “Leila” (1996), “Mom’s Guest” (2004), and “The Orange Suit” (2012). His most recent film, “La Minor,” was released in 2020.

Throughout his career, Mehrjui has received numerous accolades and awards for his contributions to Iranian cinema. His films have been showcased at prestigious film festivals globally, earning him a dedicated following of cinephiles and critical acclaim.

Born in 1969, Vahideh Mohammadifar was an Iranian screenwriter, costume designer, and assistant director.

She began her career in cinema in 1996 with her acting debut in the film “Leila.”

Mohammadifar took her writing seriously by penning the “Dear Cousin is Lost”, which was brought to life by Mehrjui in 2000.  This collaboration served as a stepping stone for her career in screenwriting.

She continued her fruitful collaboration with Mehrjui, working on the screenplay for “Mom’s Guest” alongside Mehrjui and Hushang Moradi Kermani. This experience further solidified her position in the field of screenwriting.

She contributed to the screenplays of several of Mehrjui’s films, including “La Minor,” “The Ghosts,” “The Orange Suit,” “Santur Player,” and “My Beloved Sky.”

Photo: Celebrated Iranian filmmaker Dariush Mehrjui and his wife Vahideh Mohammadifar in an undated photo