TEHRAN (Iran News) Responding to Trump’s war rhetoric against Iran during an event on Sunday, General Mousavi said the remarks of a president, who claims to represent a superpower, are not worthy of a head of state and are reckless.

The top commander continued by asking the question as why does Trump talk about negotiations If he intends to go to war, in a rebuke to the US president’s renewed military threat under the guise of Iran’s nuclear program.

General Mousavi warned, however, that entering into a conflict with Iran would lead to consequences that would prevent Trump from repeating such rhetoric anywhere in the world.

As Iran and the US negotiators recently resumed talks on nuclear and sanctions removal issues in Oman, Trump threatened Iran with strikes if a deal was not reached between Tehran and Washington.

Iran has repeatedly warned the United States, and its regional allies of grave consequences for any military mischief, saying the Islamic Republic is prepared to inflict more crushing defeats on aggressors.

The top commander continued by asking the question as why does Trump talk about negotiations If he intends to go to war, in a rebuke to the US president’s renewed military threat under the guise of Iran’s nuclear program.

General Mousavi warned, however, that entering into a conflict with Iran would lead to consequences that would prevent Trump from repeating such rhetoric anywhere in the world.

As Iran and the US negotiators recently resumed talks on nuclear and sanctions removal issues in Oman, Trump threatened Iran with strikes if a deal was not reached between Tehran and Washington.

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TEHRAN (Iran News) According to Pyongyang’s state-run news agency KCNA, the UAV was likely used to drop leaflets over the capital. Similar drones were spotted scattering leaflets full of “political propaganda and slander” earlier this month, the outlet said. “North Korean ”

“If a violation of the DPRK’s territorial ground, air and waters by ROK’s military means is discovered and confirmed again, it will be regarded as a grave military provocation against the sovereignty of the DPRK and a declaration of war and an immediate retaliatory attack will be launched,” KCNA warned, as quoted by Reuters.

Kim Yo-jong, the sister of North Korean leader Kim Jong-un and a top government official, claimed on Thursday that Pyongyang had “clear evidence” that the South had violated the North’s airspace.

South Korea has refused to confirm whether its drones have crossed the border. Joint Chiefs of Staff spokesman Colonel Lee Sung-jun told reporters this week that the matter was “something that should be clarified by North Korea.”

Pyongyang has engaged in hostile rhetoric in recent months, accusing its southern neighbor of “provocations.” This week, North Korea blew up sections of roads leading to South Korea, and vowed to “completely separate” the two countries and transform the border area into “an eternal fortress.”

In January, Kim Jong-un proposed abandoning the longstanding commitment to reunification, and labeled South Korea a “principal enemy.”

The tensions mark a contrast to a series of friendly gestures in the late 2010s when then US President Donald Trump sought to de-escalate the situation on the Korean peninsula. However, a meeting between Trump and Kim in Hanoi in 2019 ended in failure, with both sides accusing each other of making unrealistic demands. Pyongyang has since ramped up missile tests, while the US has launched more joint military drills with South Korea.

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TEHRAN (Iran News) –Palestinian Foreign Minister Riyad al-Maliki stressed on Saturday that the European countries should recognize the Palestinian state to reach a solution to the ongoing conflict.

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Speaking in a meeting on science and technology, Rahim Safavi pointed out that for nearly 300 years, Western nations have touted media freedom and equality, but their deceit has eroded public confidence in their words.

He went on to say, “What has occurred is unprecedented, and the future will be unlike anything we’ve seen before.”

The advisor was referring to the Israeli war on Gaza.

The advisor stressed the importance of monitoring global developments and drawing on the experiences of the Sacred Defense era to strive for an ideal situation in the future, as we are witnessing a shift in the new world order.

Referring to the Sacred Defense, he added that though 34 years have passed from that time (the Iran-Iraq war of the 1980s), there are still many unknown dimensions that should be analyzed.

In the next step, according to the top advisor, the analysis should turn to lessons at strategic and tactical levels.

He reiterated that we should prepare ourselves with all-round defense against all kinds of threats against Iran.

In the final step, he emphasized the need for a comprehensive defense strategy against all threats facing Iran and called for sharing knowledge gained from the Sacred Defense with the resistance front, as resistance is integral to “strategic defense.”

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With its immense human toll and lasting impact, Iran-Iraq war remains a significant chapter in the history of both nations. It serves as a reminder of the sacrifices made by the Iranian people.

Preserving the history of this war is essential to ensure that its lessons, experiences, and consequences are not forgotten. In this regard, filmmaking plays a vital role in capturing and preserving the history of the war, allowing future generations to understand the complexities and human impact of this conflict.

War dramas can effectively depict the atmosphere, emotions, and intricacies of conflict by portraying the personal stories and experiences of those involved. The visual medium allows for a more engaging experience, immersing the audience into the characters and events depicted on screen.

Female filmmakers and male filmmakers often bring different perspectives to war dramas, influenced by their life experiences, social roles, and artistic sensibilities. These distinct viewpoints contribute to a richer and more diverse range of narratives and interpretations in this genre.

In the post-war era, female filmmakers have played a crucial role in documenting the history of the conflict. Through their empathetic storytelling and unique perspectives, these filmmakers have contributed to a greater understanding of the human impact of war.

By highlighting the experiences and perspectives of the often-overlooked voices of women, they have enriched the audience’s understanding of this subject, preserving the memories and lessons of turbulent times for future generations.

Two Iranian female directors who have made significant contributions in this area are Narges Abyar and Monir Qeidi.

Narges Abyar and “Track 143”

Narges Abyar, a prominent Iranian filmmaker, has made significant contributions to exploring important issues within Iranian society through her films.

Her film “Track 143,” adapted from Abyar’s own book of the same title, delves into the theme of maternal sacrifice during the Iran-Iraq war. The story revolves around Olfat, a mother anxiously awaiting the return of her son, who has gone missing in action.

In contrast to war dramas that often highlight the conflict itself and the soldiers directly involved, “Track 143” takes a different approach by centering on a single mother anxiously awaiting her son’s return.

Unlike traditional war films with grand battle scenes, this movie deliberately avoids depicting the war directly. Instead, the audience shares in the mother’s experience by hearing war news through a radio she carries on her waist, providing a firsthand account of the events happening on the warfront.

This unique perspective offers a more intimate and personal exploration of the emotional toll and uncertainty faced by families affected by war.

At first glance, this concept may seem suited for a short film production. The main character’s path to her objective appears obstacle-free, as she only waits and makes futile attempts without committing any significant actions.

The supplementary subplots employed by the filmmaker do not contribute to the character development and subplot of the story. For instance, the character of the reporter researching the martyrs, and a team searching for their remains, represents one of these subplots.

However, this subplot fails to create a compelling dramatic character or establish a clear objective for the story. Consequently, the mother’s character remains the major character of the story, which serves as a prominent feature of the film’s strength.

The movie director intentionally steers clear of minor characters and the camera relentlessly follows the protagonist. The director disregards the life and future prospects of the martyr’s sister. The plot fails to delve into crucial subjects such as the challenges that the sister must overcome and her aspirations of getting married and having children. The characters’ roles exist solely in relation to the mother and her situation.

The true essence of “Track 143” lies in its ability to evoke powerful emotions, which sets it apart as a feature film. Throughout the story, the film revolves around the mother’s emotional journey, skillfully utilizing visual elements to express the depth of her experiences. Rather than relying on extensive dialogue or action, the film captures the mother’s inner turmoil through poignant imagery, allowing the audience to intimately connect with her emotions.

This emphasis on emotional storytelling elevates “Track 143” from a mere short film concept to a captivating feature that leaves a profound impact on viewers.

An example of the film’s clever use of visual storytelling to evoke emotions is seen in the scenes depicting the mother’s presence at the cement factory.

As she desperately seeks information about her missing son, the machines and imposing rollers within the factory symbolize her futile and agonizing efforts. The crushing of stones by these mechanical giants serves as a representation of the character’s fruitless and painful struggle.

This intelligent use of imagery effectively conveys the mother’s emotional journey to the audience, leaving a lasting impression of her overwhelming and desperate quest.

In the scene where the mother visits the house of a war prisoner who has returned to the country, another intelligent use of visual imagery is evident. Despite her desperate hope for information about her missing son, she is met with disappointment as the man is unable to provide any answers. Immediately following this scene, powerful explosions shake the ground, symbolizing the mother’s heartbreak and the deep emotional wounds she carries.

“Track 143” skillfully employs long and extreme long shots to portray the mother’s sense of confinement in both time and place. The filmmaker deliberately eliminates any elements that could distract from showcasing the mother’s overwhelming loneliness and longing, ensuring that every aspect of the film serves to express her innermost feelings.

One of the most powerful scenes in the film occurs in its final moments. After years of agonizing waiting, all that remains of her son’s body are a few bones. Yet, these precious fragments are tenderly returned to the mother, cradled in her arms as if her son is reborn anew.

This scene serves as a profound and emotional culmination, encapsulating the mother’s unwavering love and the bittersweet resolution of her long and painful journey.

The impact of this moment leaves a lasting impression on the audience, evoking a deep sense of both heartache and hope.

The film garnered critical acclaim and received numerous awards, showcasing Abyar’s ability to capture the human side of war.

The movie brought Merila Zarei a Crystal Simorgh for best actress at the 32nd Fajr Film Festival in February 2014 for her portrayal of Olfat.

Photo : Merila Zarei acts in a scene from “Track 143” by Narges Abyar

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