{"id":309005,"date":"2024-06-26T16:08:51","date_gmt":"2024-06-26T12:08:51","guid":{"rendered":"https:\/\/www.meydan.tv\/?p=309005"},"modified":"2024-06-26T16:08:52","modified_gmt":"2024-06-26T12:08:52","slug":"random-successes-azerbaijani-cinema-today","status":"publish","type":"post","link":"https:\/\/www.meydan.tv\/en\/article\/random-successes-azerbaijani-cinema-today\/","title":{"rendered":"“Random successes”: Azerbaijani cinema today"},"content":{"rendered":"\n

This article was originally published on the JAMNews website <\/a>on the 19th of June 2024.<\/strong><\/p>\n\n\n\n

\u201cSince gaining independence, Azerbaijan\u2019s<\/a> cinema has been trying to find its path, but it hasn\u2019t been very successful so far<\/em>,\u201d says film critic Haji Safarov about the current state of modern Azerbaijani cinema.<\/p>\n\n\n\n

Before the early 1990s, cinema in Azerbaijan, like in other Soviet republics, was controlled by Moscow. Film production was centrally managed, and the entire industry was state-funded. The collapse of the Soviet Union led to the downfall of the film industry.<\/p>\n\n\n\n

Afterward, Azerbaijani cinema went through a long period of decline. Like many other sectors, the film industry experienced chaos and uncertainty for many years.<\/p>\n\n\n\n

So, what has changed in our cinema during the years of independence? How much has Azerbaijan\u2019s film industry been able to develop?<\/strong><\/p>\n\n\n\n

Film critic and creator of the channel \u201cFilm a\u00e7\u201d (\u201cTurn on the Film\u201d) with a wide audience on social media, Haji Safarov<\/strong>, spoke to JAMnews about the challenges facing modern Azerbaijani cinema.<\/p>\n\n\n\n

\"Film<\/a>
Film critic Haji Safarov. Photo from personal archive<\/em><\/figcaption><\/figure>\n\n\n\n

\u201cCurrently, Azerbaijan is attempting to build its film industry, albeit very slowly. Why do I say \u2018slowly\u2019? Because in countries like Azerbaijan, where the film market is relatively small, the film industry cannot be developed solely through a free market. State support is necessary.<\/p>\n\n\n\n

In this case, changes in Azerbaijan\u2019s Ministry of Culture over the past few years and a general negative attitude towards the cinema sector have further delayed this entire process. For example, much time was spent on establishing the Azerbaijan Republic Film Agency, and there was hope that everything would improve thereafter. However, after its establishment, it became clear that we hadn\u2019t fully formed the operational mechanisms, so it will take several more years to see results,\u201d Safarov explains.<\/p>\n\n\n\n

Currently, Azerbaijan has two private cinema chains operating \u2013 \u2018Park Cinema\u2019 and \u2018Cinema Plus\u2019. There is also the \u2018Nizami Cinema Center\u2019, which has existed since Soviet times, renovated and modernized to contemporary standards in 2011.<\/p>\n\n\n\n

\"Nizami<\/a>
Nizami Cinema Center, which has been around since Soviet times, was renovated and modernized to contemporary standards in 2011. Photo by Fatima Movlamli \/ JAMnews.<\/em><\/figcaption><\/figure>\n\n\n\n

During the first three months of 2024, these cinemas screened 12 domestic films.<\/p>\n\n\n\n

According to State Statistics Committee data, out of 560 films shown in the country\u2019s cinemas in 2022, only 60 were domestic productions. In last year\u2019s statistics, this number did not exceed 40.<\/p>\n\n\n\n

\"Film<\/a>
Poster of the film \u201cWhen the Stadiums Fall Silent\u201d by Azerbaijani director Ali-Sattar Guliyev. Photo: Fatima Movlamli \/ JAMnews<\/em><\/figcaption><\/figure>\n\n\n\n

Haji Safarov attributes this to weak communication between the audience and the film industry.<\/p>\n\n\n\n

\u201cOf course, local films are shown in cinemas. But not every film that is made can make it to the big screen. Cinemas may choose not to screen certain films if they don\u2019t see audience interest. So, one of the reasons is related to the disconnect between the audience and the film industry. When these relationships are established correctly, when films generate interest among viewers, any result can be achieved<\/em>,\u201d says Safarov.<\/p>\n\n\n\n

State support and censorship<\/h2>\n\n\n\n

Almost every year, a certain amount of money from Azerbaijan\u2019s state budget is allocated to the film industry. For example, according to a decree signed by president Ilham Aliyev in 2019, five million manats (about $3 million) were allocated from the President\u2019s Reserve Fund to the Ministry of Culture to ensure the implementation of projects related to state-commissioned film production, support for film production, and the creativity of young filmmakers.<\/p>\n\n\n\n

In 2022, by decree of the country\u2019s head, provisions were made for the activities of the Azerbaijan Republic Film Agency, with its statutory fund of 100,000 manats (about $58,800) to be formed from the state budget.<\/p>\n\n\n\n

Does state support lead to censorship?<\/h3>\n\n\n\n

\u201cInternational experience shows that in any country interested in developing its film industry, there is some form of state support. Even in the USA, there is support through tax incentives for filming in certain states or refunds on expenditures.<\/p>\n\n\n\n

In Europe, the system is structured in a way where budgets are allocated through various tenders and grant competitions to filmmakers to produce new films. However, the key principle is that regardless of financial support, the state should not interfere in the creative process.<\/p>\n\n\n\n

In Azerbaijan, all films are fully funded by the state, which inevitably leads to certain issues. By financing films entirely, the government sometimes sees itself entitled to influence their content, which can result in censorship in the creative process,\u201d explains the film critic.<\/p>\n\n\n\n

Haji Safarov believes that state support for the film industry is crucial because this sector requires significant funding. In this regard, he considers the European experience ideal:<\/p>\n\n\n\n

\u201cThe state allocates a certain amount for part of the work, and producers try to find the remaining funds themselves. After production, the film recoups its costs through screenings in cinemas.\u201d<\/p>\n\n\n\n

\u201cCinema industry in Azerbaijan is not entirely free\u201d<\/h2>\n\n\n\n

Haji Safarov points out bureaucratic forms of censorship:<\/p>\n\n\n\n

\u201cIt wouldn\u2019t be accurate to say that the film industry in Azerbaijan is free. However, it\u2019s also incorrect to speak of complete censorship because our censorship mechanism is not well-structured. For example, independent individuals can make films on any topic they want. But here, bureaucratic obstacles sometimes arise, such as with filming on the streets.<\/p>\n\n\n\n

To proceed smoothly, you need permission from several government bodies. When working with a team of more than five people, this inevitably attracts attention, and employees of various government agencies start asking questions like \u2018Who are you and what are you filming here?\u2019<\/p>\n\n\n\n

However, international practice has a unified system where you submit an application with your film\u2019s topic and promptly receive all necessary permissions.<\/p>\n\n\n\n

In our country, for example, if you plan to film in Surakhani district in Baku, you\u2019ll need permission from the executive authority of Surakhani district, the executive authority of Baku city, the Ministry of Internal Affairs, the district police department where the filming will take place, and so on,\u201d explains Safarov.<\/p>\n\n\n\n

He adds that sometimes obtaining these permissions takes a long time, which increases filmmakers\u2019 expenses. If a film director plans to start shooting in two weeks, the entire crew cancels their other work from that date. But if permissions are not obtained by then, filming delays occur, and consequently, the crew has to pay fees for days when no actual work is done. This further reduces the already limited budget.<\/p>\n\n\n\n

Few successes of local cinema<\/h2>\n\n\n\n

Some films and series produced in Azerbaijan in recent years have been successful not only among local audiences but also internationally. Haji Safarov considers these works, created by independent artists, as \u201caccidental successes\u201d of Azerbaijani cinema. This is because these successes do not progress along a continuous and increasing line.<\/p>\n\n\n\n

\u201cFor instance, Elvin Adigezel\u2019s film \u2018Bilasuvar\u2019 was selected to participate in the Busan International Film Festival, \u2018Inner Island\u2019 (\u2018Daxild\u0259ki ada\u2019) for the Sarajevo Film Festival, and Hilal Baydarov\u2019s film \u2018When Persimmons Ripen\u2019 (\u2018Xurmalar yeti\u015f\u0259n vaxt\u2019) received awards at two major festivals. In other words, good films are made, albeit sporadically. Among the young generation, there are those whose projects are selected for many prestigious programs and supported, they may not be well-known to the masses, but the film community knows them.<\/p>\n\n\n\n

Some series broadcasted on Public Television are also enjoying success. The recently aired series \u2018Alatava\u2019 was received with great interest. This, in itself, is an achievement.\u201d<\/p>\n\n\n\n

The film \u201cTar Barrel\u201d (\u201cZ\u0259h\u0259r tulu\u011fu\u201d) by Taleh Yuzbekov was also highly successful in cinemas.<\/p>\n\n\n\n

But these successes are not consistent. A person makes a film, and then for 10 years cannot do anything. Simply no opportunity.<\/p>\n\n\n\n

So, of course, there are good films, but it\u2019s just the success of a few films, not a consistent and sustainable success of the industry.\u201d<\/p>\n\n\n\n

In Azerbaijan, artists often complain about small fees and salaries. Actors, directors, screenwriters, and everyone else in the film industry claim that their work is not properly valued. This problem forces many talented individuals with high creative potential to seek additional income in show business and even the \u201cwedding business.\u201d<\/p>\n\n\n\n

\u201cYou definitely have to do something else to earn extra money.<\/p>\n\n\n\n

In short, people working in this industry are not rolling in clover. They do this work mostly out of love for cinema,\u201d says Safarov.<\/p>\n\n\n\n

However, according to the film critic, it can be said that Azerbaijani cinema has been moving in a positive direction since the 1990s, but this cannot be considered a sufficiently good result:<\/p>\n\n\n\n

\u201cAzerbaijani cinema needs the political will of the state that will be interested in developing this sphere. At the same time, people working in the film industry must focus on a common goal, work diligently for the greater good. For this, first and foremost, they must set aside their disagreements and put forward common demands so that political will can take action.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

This article was originally published on the JAMNews website on … <\/p>\n

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