Majidi wins 'Best Film' award at the 31st Busan International Film Festival
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Tehran Times
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Majidi wins 'Best Film' award at the 31st Busan International Film Festival

Majidi won the 'Best Film' award at the 31st Busan International Film Festival (BIFF) on Thursday for his new film 'Midday Meal'. By receiving this award, the renowned director has secured a direct path for his film to be considered for upcoming Academy Awards, as the film's world premiere took place at the festival.

Starting this year, the winner of the main prize in the Busan Award section automatically qualifies to submit an application in the 'Best International Feature Film' category at the Academy Awards ceremony. Furthermore, the 'Best Film' award comes with a monetary prize of 50 million won ($37,180).

Iran has already selected Babak Hajepashi's film 'Land of Angels', a drama about children surviving the war in Gaza, as its official nomination for the 99th Academy Awards. However, thanks to 'Midday Meal', an alternative route to participating in the race for the award has now opened up.

At the closing of the festival, jury president Zhang Yimou, a legend of Chinese cinema, highly praised 'Midday Meal', calling it a perfect film, and noted that all seven jury members unanimously reached this decision. Excitement surrounding Majidi's film grew throughout the week in Busan, and many correctly predicted that it would receive the top prize.

Upon receiving the award, Majidi expressed gratitude to the festival, noting that it was a great honor to receive such a significant prize during his first visit to Busan. He added that his energy comes from the memory of his late mother.

He dedicated the award to the 'brave people of Iran' who 'continue to resist oppression' and 'never give up'. Commenting on the economic sanctions imposed against Iran, the Iranian filmmaker stated: 'For 48 years, our people have been subjected to the harshest economic sanctions, to the extent that even access to medical care for treating children with cancer has been forbidden. Despite this, they have not capitulated.'

Majidi also mentioned the military attacks on Iran, stating: 'You all saw how, when they realized the Iranian people would not surrender, they repeatedly subjected our country and cities to the most intense and brutal bombings.'

He continued, describing the death of children on the first day of the attacks: 'On the first day of the attack, 168 innocent children were torn apart, and the bodies of some of them were never found.'

Referring to the attacks on homes, universities, and residential areas, as well as the death of thousands of people, Majidi questioned why the Iranian people should pay such a high price. He emphasized: 'What crime is our people committing? They simply want to be independent, and we will stand until the very end.' He concluded his words with a wish for a future free from war, filled with peace, love, and friendship.

Earlier at the festival, Majidi detailed in a press conference how he almost declined the invitation to South Korea because he felt depressed and exhausted due to the difficult situation at home. Ultimately, he decided that the trip would allow him and his film to convey 'some small message from my people to people of other nations and places.'

'Midday Meal' captivated critics in Busan with its powerful, parable-like narrative and confident visual style. The story is about Davoud Soulan (Mohammad Rahimi), a contract teacher in a remote village in southeastern Iran, whose hopes of securing permanent government employment are threatened after the death of a wealthy benefactor and the disappearance of free meals that helped his poor students attend school. Determined to save both his school and his future, Soulan resorts to increasingly desperate measures, including dangerous cross-border fuel smuggling, as his innate kindness conflicts with his modest ambitions.

This film continues Majidi's long-standing thematic focus—the moral pressure faced by people on the periphery of society, which was evident in his early works that received awards at festivals such as 'The Color of Paradise' (1999) and 'Baran' (2001).

For 'Midday Meal', he assembled a completely non-professional cast by searching for actors on the streets in the region, staging their performances against the backdrop of the harsh, otherworldly landscape of Iran's so-called Martian mountains. Majidi and cinematographer Human Behmanesh capture much of the drama using a tracking camera, often placing the protagonist against the severe, otherworldly landscape of the region. The film gradually acquires the quality of a mysterious existential parable.

This is the first time Majidi has been invited to Busan; previously, he appeared at Cannes, Berlin, and Venice over the past 35 years. He is the most represented Iranian filmmaker in the international category of the Academy Awards, having received a nomination in 1999 for 'Children of Heaven' and being shortlisted in 2021 with 'Sun Children'. Thanks to his humanistic approach to social realism and special emphasis on children's well-being, 'Midday Meal' aligns with Majidi's creative legacy, which includes films like 'The Color of Paradise' and the 2020 Venice submission 'Sun Children'; however, he remains most internationally known for his 1998 film 'Children of Heaven', the first Iranian work ever nominated in the category now called Best International Feature Film.

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International Archaeology Day: An Overview of Paleolithic Heritage and Iranian Museums
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International Archaeology Day: An Overview of Paleolithic Heritage and Iranian Museums

On October 17th, archaeologists and cultural institutions worldwide observe International Archaeology Day, emphasizing archaeology's contribution to understanding human history. This day also prompts reflection on the broader role of archaeology in reconstructing human history, studying changing relationships between people and the environment, and disseminating scientific knowledge to the public through museums and other cultural institutions.

In Iran, this day offers a valuable opportunity to recognize heritage that extends far beyond monumental architecture and written records. Long before the emergence of urban centers, groups of people inhabited the Iranian Plateau and its mountain ranges, developing stone tool technologies and other early technologies, adapting to changing climatic conditions, and utilizing a wide spectrum of environments.

The Paleolithic represents the longest period of this history and places Iran at the center of important discussions concerning human evolution, the dispersal of hominins across Eurasia, and adaptation during the Pleistocene.

Situated between Southwest Asia, the Caucasus, Central Asia, and the Indian subcontinent, Iran encompasses an astonishing diversity of landscapes and ecological conditions. These environments formed part of the geographical context in which prehistoric populations migrated, settled, and adapted. Therefore, Iran should be viewed not merely as a corridor between better-known prehistoric regions, but as a unique archaeological landscape with real potential for future research into early human settlement, Neanderthal behavior, and Homo sapiens dispersal.

The earliest chapters of Iran's Paleolithic record are documented primarily through concentrations of stone tools found in open areas and sedimentary layers. Sites such as Kashafrud in northeastern Iran and Dehtal north of the Persian Gulf have contributed to discussions about Lower Paleolithic settlement. Nevertheless, important questions remain regarding chronology, stratigraphic integrity, and the link between artifacts and their depositional context. Resolving these issues requires meticulously planned field surveys, critical reassessment of existing collections, and reliable dating where suitable materials and archaeological contexts are available. The Darband Rashchi Cave is a key example where modern dating methods and lithic materials associated with faunal remains in a stratigraphic context help deepen the understanding of the Lower Paleolithic in Iran.

The Zagros Mountains hold particular significance for understanding the Middle and Upper Paleolithic in Iran. Caves, rock shelters, and high-altitude valleys preserve archaeological sequences that provide evidence of Neanderthal technologies, subsistence strategies, and responses to environmental change. These records are also crucial for studying the arrival and subsequent expansion of modern humans, as well as the cultural and demographic processes associated with the transition from the Middle to the Upper Paleolithic. Together, they serve as a valuable foundation for studying how human populations occupied and adapted to the diverse conditions of the Iranian highlands.

In recent decades, Iranian archaeologists have advanced Paleolithic research through independent projects and, in some cases, in collaboration with international colleagues. Their work has expanded fieldwork, strengthened analytical capabilities, and drawn attention to Iran's prehistoric heritage within the international archaeological community.

The contribution of Iranian women archaeologists has been particularly significant, fostering the development of scientific knowledge, expanding research perspectives, and strengthening the foundations of the discipline. Dr. Marjan Mashkoor has made substantial contributions to zooarchaeological studies, deepening the understanding of past subsistence strategies, human-animal relationships, and interactions between human populations and their environments. Through her teaching and mentorship, she has also trained and helped shape a new generation of Iranian zooarchaeologists, many of whom now conduct research in institutions across Iran, advancing the field nationally. Her work demonstrates how specialized research can enrich museum collections and exhibitions, helping visitors understand how animal remains recovered from archaeological sites serve as evidence of past diets, economies, and human-animal relationships.

Dr. Sonia Shidrang has also made vital contributions to Paleolithic research and the international recognition of Iran's prehistoric heritage, notably through her involvement in the UNESCO nomination for the Prehistoric Sites of the Khorramabad Valley, which were inscribed on the World Heritage List in 2025. Beyond research and heritage management, her commitment to teaching and organizing seminars at Shahid Beheshti University and other institutions has helped transmit specialized knowledge and practical skills to a new generation of student archaeologists. Their work illustrates how Iranian women archaeologists contribute not only to scientific research and international cooperation but also to the development of the national research base and the future of the discipline.

Field archaeology is equally important for heritage management, especially when development projects threaten archaeological sites and landscapes. The rescue archaeology program at the Darian Dam in the Sirvan Valley, conducted in 2015–2016, demonstrated the importance of archaeological investigation in a rapidly transforming landscape. While rescue archaeology cannot replace in-situ preservation, it can document threatened remains and recover information that would otherwise be lost. The project also underscores why prehistoric landscapes, even without monumental structures or visible architectural remains, must be recognized as integral components of Iran's cultural heritage.

The Khorramabad Valley holds a unique position within this broader archaeological landscape. Its caves, including Kunjji, Yafteh, and Gamari, hold vital evidence for reconstructing Paleolithic lifestyles and studying long-term occupation of the Zagros. The inscription of the Prehistoric Sites of the Khorramabad Valley on the UNESCO World Heritage List in 2025 was a major achievement for Iranian archaeology. As a member of the nomination group, I personally witnessed the importance of a rigorous scientific basis to ensure the international recognition of archaeological heritage. This inclusion provides a crucial opportunity to advance archaeological research, strengthen site management and conservation, and communicate the valley's significance to local communities and the international audience.

My work in Gilan province has also led to a dialogue between prehistoric studies and broader cultural heritage issues through my participation in the UNESCO nomination for the Masuleh Cultural Landscape. This experience highlighted the value of studying cultural landscapes across different time periods, taking into account the ecological and historical processes that shaped them. Archaeological research can extend this perspective beyond existing architectural structures and documented history to explore deeper connections between people and their environments.

Museums play a crucial role in connecting archaeological research with public understanding. In 2001, I headed the creation of the Paleolithic Gallery at the National Museum of Iran to present archaeological evidence in a format accessible to a wider audience. Stone tools may seem simple at first glance, but their technological characteristics, raw materials, and archaeological contexts can reveal important aspects of past human behavior upon careful interpretation. The task of museums is to clearly convey these findings while maintaining the scientific context necessary for their interpretation.

The establishment of the Zagros Paleolithic Museum in Kermanshah extended this work to a region whose archaeological heritage constitutes a significant part of Iran's Paleolithic legacy. Regional museums are particularly valuable because they connect archaeological discoveries to the landscapes and communities from which the evidence originates. Recently developed Paleolithic exhibits at the Lorestan Archaeological Museum in 2024 further reinforced the representation of Western Iran's prehistoric heritage within its regional context. National and regional institutions together can help the audience appreciate the diversity of Iran's archaeological heritage and its contribution to our understanding of human history.

Museums also play a central role in the responsible management of archaeological collections. The scientific value of an artifact depends not only on its physical characteristics but also on its provenance, stratigraphic position, and connection to other evidence. When these interconnections are lost, important opportunities for interpretation and future research diminish or disappear entirely. Therefore, documentation, preservation, and responsible curatorial practice must remain integral parts of archaeological practice.

International Archaeology Day provides a moment to acknowledge the scientific and public value of Iran's Paleolithic heritage. Advancing research requires continuous fieldwork, renewed study of existing collections, interdisciplinary collaboration, and strengthening the links between research institutions and the public. Such efforts can more fully integrate Iran's archaeological heritage into international scientific debates while ensuring that future generations of researchers have access to the evidence, expertise, and institutional resources needed to study it.

As Head of the Paleolithic Department at the National Museum of Iran, my experience in fieldwork, museum development, and UNESCO nominations has underscored the importance of linking scientific inquiry with public interpretation and long-term heritage management. Archaeology achieves its greatest value when discoveries contribute not only to scientific understanding but also to a broader recognition of the common human past. Iran's Paleolithic heritage offers an exceptional platform for advancing this understanding, connecting the history of human adaptation in deep antiquity with the responsibilities of scientific research and cultural stewardship today.

Unique Durga Pandals with Thematic Decorations Presented in Prayagraj
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Unique Durga Pandals with Thematic Decorations Presented in Prayagraj

During the Navratri period, religious fervor reaches its peak across the country, with crowds of pilgrims flocking to both temples and Durga Puja pandals. The city of Prayagraj has become a center of attraction due to its unusual thematic pandals. Some reflect Bengali culture, while others recreate the splendor of the famous Menakshi Temple in South India. Among the exhibits, one can see amazing works created from bamboo and palm leaves, as well as pavilions conveying a patriotic message through images of Mother India and the tricolor.

Pilgrims and tourists travel to Prayagraj from afar to view these pavilions. In the Ashok Nagar area, a pandal was decorated in honor of Bengali identity, using the theme of 'Dhak'—huge traditional drums. The entire pavilion is shaped like a dhaka, inside which stands a majestic statue of Mother Durga. People from the Bengali community perform Aarti to the Mother in traditional attire, offering praise to the sound of the dhaka, creating a unique atmosphere of devotion.

The pandal in Tagore Town is dedicated to the theme of environmental protection. Attractive decorations made of bamboo and palm leaves were used here. Various items related to crafts and rural life, such as pots and handmade goods, were created. This pavilion, made without the use of plastic and artificial materials, impresses visitors who note the skill and imagination of the artists.

The pandal in Darbhanga Colony is stylized after the famous Menakshi Temple from South India. From the outside, the magnificent architecture of the temple attracts the attention of pilgrims. Upon entering, visitors are greeted by beautiful statues of various deities, including Lord Jagannath, Lord Shiva, Goddess Lakshmi, Lord Ganesha, and Goddess Saraswati. The central place in the pavilion is occupied by the majestic statue of Mother Durga, which adorns the entire pavilion, leading to a large gathering of people.

The pandal in Kareli transports viewers to the past, showcasing many antique items that the younger generation is gradually forgetting. A special feature of this pavilion is a vintage car, a manually driven taxi from Kolkata, old teapots, and other historical artifacts from past eras. Pilgrims photograph these old memories and highly appreciate the artists' concept.

Meanwhile, the pavilion in Dhumanganj carries a message of both devotion and patriotism. A pavilion of Mother India has been created here, and the tricolor proudly flies at the top. The sight of Mother Durga alongside Mother India and the national flag fills the pilgrims with a special sense of inspiration. Visitors describe this as a unique fusion of faith and patriotism.

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