If you read and watch entertainment news, you know that an Iranian filmmaker, Asghar Farhadiis, is racking up the Hollywood awards for A Separation even in a climate of US-imposed sanctions. And if you're paying attention to most media coverage, you're well aware of the nuclear issue. But other than that, do we have a lens into the lives and stories of Iranians? Does this kind of cultural lens matter as we settle into our perspectives about Iran? Yes. Without showing the lives, struggles and culture of everyday people living and working in Iran, we in the West have a potentially skewed image of Iranians.

In 2006, Link TV developed a documentary TV series, Bridge to Iran, to provide a window into the lives and struggles of everyday Iranians -- to respond to the cultural and political tensions that have developed between Iran and the US since the Iranian Revolution.  Over the years, Bridge to Iran has covered a wide range of social and political issues in modern Iran, including the experiences of young girls facing womanhood and uncertain futures, religious pilgrims who risk their lives to visit a holy site in war-torn Iraq, rural life and political awareness, an exploration of Tehran as an urban metropolis, and Iranian women's participation in the election process.

The new season premieres on February 14. In each of the four episodes of Bridge to Iran, in-depth discussions between host Parisa Soultani and top Iranian filmmakers provide a unique lens into some of the challenges and realities facing Iranians during a time of increased instability -- including censorship, sanctions and safety concerns.

Here are the details about the films and when to catch the episodes, on Link TV or online:

• Iran: A Cinematographic Revolution, directed by Nader Takmil Homayoun, explores the history and politics of Iran through its rich filmmaking tradition; premieres on February 14 at 7:30 pm ET / 4:30 pm PT and February 16 at 10:00pm PT. Watch online starting February 14.

• The Queen and I, directed by Nahid Sarvestani, documents the filmmaker's complex relationship with the exiled former queen of Iran; premieres on February 21 at 7:30pm ET / 4:30pm PT and February 23 at 10:00pm PT. Watch online now!

• We Are Half of Iran's Population, directed by Rakhshan Bani Etemad, looks at women's participation in the controversial 2009 elections; premieres on February 28 at 7:30pm ET / 4:30pm PT and March 1 at 10:00pm PT. Watch online now!

• Siah Bazi (The Joy Makers), directed by Maryam Khakipour, traces the demise of a popular form of irreverent street theater; premieres on March 6 at 7:30pm ET / 4:30pm PT and March 8 at 10:00pm PT. Watch online starting March 6.

Bridge to Iran offers a diverse perspective on a country on the receiving end of a torrent of media attention -- but with a lens that's inclusive of the people and the art found within Iranian borders. We hope you'll tune in and tell others.

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Caty Borum Chattoo is a producer and communication strategist with Link TV, assistant professor in the School of Communication at American University in Washington, DC, and media fellow with the AU Center for Social Media.

Bowing to growing international outrage over the imprisonment of film director Jafar Panahi, the Iranian government has now released him on bail. Iranian state television announced that bail was set at $200,000, according to an article published at the Telegraph.co.uk. No further information on Panahi’s release was immediately available.

On March 1, 2010, Jafar Panahi, one of Iran’s most celebrated and influential film directors, was arrested at his home for allegedly planning to make a film about the June 2009 election which returned President Mahmoud Ahmadinejad to office. On Sunday, May 16, while still being held in Tehran’s Evin prison, Panahi began a hunger strike after government officials apparently threatened to arrest his family.

In a letter released by Panahi’s family on May 18, 2010, and published on the website IranHumanRights.org, Panahi stated:  “On Saturday night [May 15, 2010], agents attacked Evin’s Cell 56, forcing me and my cellmates to go outdoors without any clothing and kept us in the cold weather for one and a half hours… They even threatened to arrest my entire family and transfer them to Evin Prison and to send my daughter to an unsafe detention center in Rajaie Shahr.”

On May 3, 2010 Indiewire.com reported that Hollywood’s A-List directors had just signed a petition condemming Panahi’s detention and demanding his immediate release. Signatories included Martin Scorsese, Steven Spielberg, Jonathan Demme, Ang Lee and Oliver Stone. Another petition, organized on Facebook, includes over 150 international filmmakers and is still accruing signatures online.

Panahi was supposed to serve as a juror at the 2010 Cannes Film Festival and his absence did not go unnoticed. His juror’s chair was left vacant for the duration of the festival and Abbas Kiarostami, in Cannes to screen his new movie CERTIFIED COPY, called Panahi’s imprisonment “intolerable." According to the New York Times, Kiarostami also stated:  “When a filmmaker, an artist, is imprisoned, it is art as a whole that is attacked, and it is against this that we should react.”

Another leading figure who played a key role in championing Panahi’s cause was film actor Juliette Binoche, who won Best Actress at Cannes for CERTIFIED COPY. When she won her award, she held up a sign bearing Panahi’s name and said his only crime was “to be an artist, to be independent.”

More About Panahi

Panahi achieved early acclaim with the release of his first film in 1995 —-WHITE BALLOON -- which won a Camera d’Or at the Cannes Festival. When it opened in the U.S. shortly thereafter, it quickly became the most successful Iranian film ever released in North America. The film’s protagonist is a seven year-old girl who wants to buy a goldfish to celebrate Norooz, the Iranian New Year. We see the world through her eyes in real time as she attempts to navigate the “forbidden” Tehran marketplace on her own. Screenplay was by Abbas Kiarostami (THROUGH THE OLIVE TREES) for whom Panahi was an apprentice. Time Out London called the movie an “extraordinary debut feature…of audacious subtlety and simplicity.”
 
After its release, the Iranian government attempted to have the film withdrawn from the Oscar best foreign film category and prevented Panahi from leaving Iran to promote it. Panahi’s second feature, THE MIRROR, received the Golden Leopard Award at the Locarno Film Festival. This film, also dealing with the human experience of social injustice as experienced by children, tells the story of a young girl whose mother fails to pick her up from school. She must make her way home through the chaos of Tehran on her own. Halfway through the movie, the young actress breaks character and asserts that she’s tired of acting and the movie moves back and forth between illusion and reality. In his review, Stephen Holden of the N.Y. Times said the film “…poses the deepest questions about illusion, reality and filmmaking. Its portrait of Tehran is unforgettable.”

Panahi’s most widely recognized achievement in film came in 2000 with the release of THE CIRCLE, a movie that criticized the treatment of Iranian women. Panahi won the Golden Lion, the top prize at the Venice Film Festival, and the movie was hailed as the Film of the Year at the San Sebastian International Film Festival. The film involves the intersecting stories of Iranian women who are struggling with a variety of issues:  giving birth to a girl when a boy was expected, navigating city streets where women are not supposed to walk by themselves, and facing death threats from family members over a possible abortion.  Despite its international awards, the film was banned in Iran.  In the Chicago Sun-Times, Roger Ebert explains:  “…the film is profoundly dangerous to the status quo in Iran because it asks us to identify with the plight of women who have done nothing wrong except to be female.”

More recent films, such as CRIMSON GOLD in 2003 earned Panahi the Cannes Film Festival Jury Award. And in 2006, Panahi’s OFFSIDE won the Silver Bear (Jury Grand Prix) at the Berlin Film Festival. In the latter film, a group of Iranian women impersonate men so they can attend a World Cup soccer match.

Updates on Panahi's case will be posted here.

Link TV editor Kyung Lee reports from the Pusan International Film Festival in South Korea.  Currently the biggest film festival in Asia, PIFF showcases new talents and films from the Asian countries.  This blog offers rare interviews with Asian directors who discuss their filmmaking experiences in their native countries.

The current situation of Afghanistan is hard for outsiders to grasp.  Almost every day we hear the news of heightened insurgency in the country, but little beyond that.  In this extremely uncertain situation, there is a filmmaker who has managed to make films that reflect the reality of Afghanistan.
 
Siddiq Barmak is currently one of only a few filmmakers in Afghanistan who is able to make feature films in his native country.  His first feature film, "Osama", portrays a young girl who is forced to don a disguise as a boy in order to support her mother in the Taliban era.  The film won a Golden Globe Award, and made a great demonstration of Afghanistan's film heritage and its possible future to the world.

Siddiq, who was born in Afghanistan and studied film in Moscow, was exiled to Pakistan during the Taliban regime from 1996 to 2002.  The current reemergence of the insurgency is a reminder for him that another dark time may be ahead.  He was at the Pusan International Film Festival this year to present his second feature film "Opium War" which is, according to the director, "an exact reflection of the situation."  I was able to catch the director and asked a few questions on the current state in Afghanistan.

Learn more at about the films Opium War and Osama.