Golshefa Farahani artificial respiration

Two nights ago, Golshifteh Farahani, a judge at this year’s Berlin Film Festival, delivered a short anti-Iranian speech at the opening ceremony, which contained important sentences. The sentences that could be said were meant to be artificial respiration to silence protests and conflicts.

Isnaples:Perhaps Golshifteh Farahani’s speech at the opening ceremony of the Berlin Film Festival was one of the smoothest and most delicate speeches of activists and opponents of the Islamic Republic of Iran. A fluent text containing all the key words and all the concepts put into the best sentences that can be said right after the 44th anniversary of the victory of the Islamic Revolution and the complete silence of the protests in Iran at an international cultural celebration. So that he can cause a new shock to the protests in Iran. The shock that Farahani himself knows doesn’t work with the sentences he says, but he tries to say that this movement is still alive. At the beginning of his short speech, he borrows a phrase from Rumi and compares Iran’s muted protests, which at first seemed so hot and blazing in the media, to rain. The rain that started with thunder but has now reached its own drizzle and in this drizzle the flower can grow. A poetic justification for recent protests that have fallen off even virtual trends. Next, he mentions the African revolution that lasted more than 800 days, and once again justifies the silence of the protests in Iran.

In the latter case, he likens the protests in Iran, which, according to all media experts and sociologists, had a much greater media dimension than what happened in the field, to a “revolution” and asks the rest of the people and the media outside Iran as use the word revolution instead of the word protest To spice up the story. At this time, for many people inside Iran who want to live in this country and this regime despite their protest on various issues, protest is a more correct and accurate word than a revolution whose leaders are supposed to be him and the likes of Pahlavi and Hezbollah. The rest of the separatists and these sentences will have him only outward consumption of such pageantry to create the dramatic spectacle of pathos he creates with his words.

In another part of his speech, he describes the Iranian regime from his own point of view, and then, by attending this ceremony, avoids culture and art, which are subject to dictatorship in Iran, and then pleads with his European and Western audiences. He needs their help to keep this rain alive. A contribution that Farahani does not mention in the slightest. But the Iranian people only felt this help through all kinds of sanctions, and perhaps his next sentence will show the same story. He immediately mentions the war in Ukraine and the Iranian drones, and after Berlin, Germany and France, he asks for help to realize the slogan “Women, Life, Freedom” that will contribute to the fall of the ruling regime. Exactly two important countries caused the worst damage to Iran during and after the imposed war, whether during the chemical weapons or harboring the dissident organization.

What Golshifteh Farahani showed at the Berlin Festival is the clearest and most accurate picture of the best case of an Iranian woman who was also influenced by Western taste. A woman with black hair, oriental eyes, eyebrows, and make-up stands in front of him and pleads with him at an international event and speaks touching words, after which the western audience takes out her white handkerchief from her bag and out of pity for the misfortune of the Iranian girl. That Western governments do something for them!

For example, in order to further seek sanctions to bring down the Iranian government, this great international delusion. Yes, this Iran is desirable for the Berlin International Festival, and this speech is the most blasphemous speech in favor of this pseudo-revolution that was given in Berlin one day after the call to action on 27 Bahman.

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