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Profound tributes are pouring in for Bahram Beyzai, a giant of Iranian cinema and theatre, who passed away at the age of 87 while residing in the United States.

A Nation Mourns

The headlines of publications in Iran lament his loss, with opposition voices and those who reflect nostalgically on the Shah era also paying homage to Beyzai.

"His passing is an immense tragedy for the cultural heritage of our country," remarked the exiled prince, the exiled son of the last Shah of Iran.

Even though Beyzai's later films were prohibited in the 1980s by the theocratic government, a number of prominent officials in the current government have also paid tribute his contribution to Persian arts.

A Mentor to Filmmakers

Several of the contemporary generation of Iranian filmmakers have expressed their gratitude to him. Jaafar Panahi noted that Beyzai taught them "how to stand up to oblivion."

Beyzai avoided overtly political content in his work, both as a playwright and a cinematic auteur, and always said he tried not to trade in explicit commentary.

But his work over countless years places historical, even mythic figures in opposition with oppressive structures of power.

Roots in Tradition

Hailing from a lineage of renowned poets, Beyzai was steeped in the deepest traditions of Persian culture from birth.

He first found fame as a playwright, inspired by ancient myths and ceremonies.

A lifelong fan of cinema, he transitioned to filmmaking in the 1970s.

He gained acclaim as one of the pivotal artists in the groundbreaking movement of Iranian cinema.

Navigating Censorship

His most fruitful era straddled the time of the Shah and then the revolutionary government that overthrew him—with both systems ever ready to detect hidden messages that could be interpreted as dissent.

"Beyzai never opted for the easy way. He endured years of exclusion, imposed silence, and distance, but he did not give up his artistic voice and his convictions," stated Jaafar Panahi in his tribute.

The Little Stranger

A few years after the Iranian Revolution, he produced what many consider his masterpiece, Bashu, the Little Stranger, about a young child who tries to take refuge from the Iran-Iraq war.

It was censored in Iran—as were other films he made in that time—but later voted by critics as the greatest Iranian film of all time.

The film was shown in a newly remastered print at this year's Venice Biennale, receiving an award for best film in the heritage category.

Final Years in Exile

Beyzai finally left Iran in 2010 and spent his later years in the US, where he taught Iranian culture.

Even after he left his homeland, his wife, the actress Shamsai, said just hearing the word "Iran" would still bring tears to his eyes—and he remained ever hopeful for a renewed spirit and future for his native land.