Login
Login

Ebrahim Hatamikia

{{Use dmy dates|date=August 2022}}

{{short description|Iranian screenwriter and film director|bot=PearBOT 5}}

{{Infobox person

| name = Ebrahim Hatamikia

| image = Exodus movie press conference 2020-02-07 37.jpg

| imagesize =

| caption = Hatamikia in Fajr International Film Festival 2020

| native_name = ابراهیم حاتمی‌کیا

| native_name_lang = Fa

| birth_date = {{birth date and age|1961|9|23|df=y}}

| birth_place = Tehran, Iran

| death_date =

| death_place =

| death_cause =

| nationality = Iranian

| education = Screenwriting

| alma_mater = Tehran University of Art

| occupation = Film director, Screenwriter, Cinematographer and Actor

| years_active = 1979–present

| spouse =

| children = Nayereh
Yousef
Esmaeil

| awards = Full list

| website =

| module = {{Infobox military person

| embed = yes

| allegiance = Iran

| branch = Revolutionary Guards

| serviceyears = 1980s

| unit = Audiovisual unit

| battles = Iran–Iraq War

}}

| signature =

}}

Ebrahim Hatamikia ({{langx|fa|ابراهیم حاتمی‌کیا|Ebrāhīm Ḥātamīkīā}}; born 23 September 1961) is an Iranian film director, screenwriter, cinematographer and actor. Hatamikia is a prolific proponent of films depicting the Iran–Iraq War's impact on Iran.{{Sfn|Keddie|Richard|2003|p=301}} His films are considered some of the best ever made in the genre of Iranian war cinema{{Sfn|Abecassis|2011|p=392}} and most notable for their attention to social changes brought about by the war.{{Sfn|Riahi|2016|page=184}} Also, he is best known for his explorations of the trauma by the war; both on returning soldiers and those who await them, unable to mourn effectively without knowing the fate of their loved ones.{{Sfn|Ginsberg|Lippard|2010|p=176}}

Career

Ebrahim Hatamikia is among of the filmmakers of the new generation of the cinema of Iran after Iranian Revolution,{{Sfn|Akrami|1992}} who is internationally renowned for his role in the cinema of Iran in the 1990s. He was born in 1961 in Tehran to a Persian father and Azeri mother. He began his directing career with some short films and documentaries about the Iran–Iraq War. His movies are considered to be the best that tackle the war and the issues surrounding it. His works have often received admiration in national film festivals. The Glass Agency and In the Name of the Father have won him the best screenplay and directing awards in the sixteenth and twenty-fourth Fajr International Film Festival respectively.

{{Quote box|align=left|width=300px|quote=I truly did not come to the war from cinema; rather,
I discovered cinema through being in the war.|source= — Ebrahim Hatamikia{{Sfn|Naficy|2012|pp=26–27}}}}

Hatamikia is now considered as an icon of professional religious filmmakers in Iran.{{Sfn|Wittmann|2015|p=79}} The name of Ebrahim Hatamikia was heard for the first time in the short films section of the 3rd Fajr International Film Festival. His The Path (1985) received honors and was recognized by the jury for excellence in presenting a theme related to the war.{{Sfn|Riahi|2016|page=184}} Hatamikia's early war-related features The Scout (1989) and The Immigrant (1990) explored the psychological and sociological impact of the war on the home front. In his subsequent glossy feature From Karkheh to Rhein (1993), he explored the psychology of a disabled veteran on a medical trip to Germany, adding to the war theme the tension of the direct contact with the West and of displacement to foreign lands.{{Sfn|Naficy|2001|page=186}} From Karkheh to Rhein considered as an anti-war film.{{Sfn|Ghanoonparvar|2009|p=160}} Hatamikia in From Karkheh to Rhein and The Glass Agency have depicted the complex processes of re-integration and re-assimilation, particularly for veterans who were chemically injured or suffered chronic illnesses.{{Sfn|Behrouzan|2015|p=50}} The two are particularly praised by Hezbollahi citizens in Iran.{{Sfn|Saeidi|Vafa|2019|p=12}} Also, Hatamikia's in From Karkheh to Rhein is particularly interesting in connection with the discourse of the Iranian diaspora during the war.{{Sfn|Strohmaier|2019|pp=14–15}}

The Glass Agency (1998) portrayed the feelings and life conditions of those who expunged from the public sphere and lost out from Rafsanjani's neoliberalisation. It tells the story of two former soldiers which despite enduring sacrifices by participating in the war, did not enjoy any of the material rewards coming from post-war reconstruction,{{Sfn|Rivetti|2020|p=77}} and had criticized the government's hypocrisy of turning veterans into symbolic heroes but not actually caring for them.{{Sfn|Bajoghli|2019|page=56}} By the film, Hatamikia had provoked the government, which then took him to court over the film and barred its release for a while. The Glass Agency is a metaphor for the glass house that Iran became after the war, where internal conflicts have been more salient than international ones.{{Sfn|Varzi|2006|p=180}} As Esha Momeni noted, it seems that Hatamikia is criticizing the state for that issue, however martyrdom's glorification by him, continues to serve the state by covering up its deficiencies in the post-war era.{{Sfn|Momeni|2019|p=191}} As Hamid Naficy notes, the film deals with the crisis of reintegrating war veterans into a society that nearly a decade after the war's end seems apathetic to their plight. in addition to criticize the government, it critiques society, which revered the soldiers but now wants to get on with life.{{Sfn|Naficy|2012|p=28}}

In Amethyst Color (2005) was banned from screening by the order of the Ministry of Intelligence because the film depicts the image of a security official. His other film, Dead Wave (2001) was also prohibited from screening by the demand of military officials. However, that both films were screened in Iranian cinemas at a later time.{{Sfn|ASL19|2014|pp=235, 238}} Despite the IRGC's strong footprint on post-revolutionary cinema, many of Iran's most important directors such as Ebrahim Hatamikia, Rasoul Mollagholipour, {{ill|Mojtaba Ra'i|fa|مجتبی راعی}}, and Ahmad-Reza Darvish, who were products of this system of support, have increasingly moved away from the war movies promoted by the IRGC. The situation has reached a point where an important war movie director, Ebrahim Hatamikia publicly criticizes the interference of military personnel in cultural and artistic activities.{{Sfn|Farhi|2004|p=113}} He talked about this in the press conference for his new film Dead Wave, which has yet to be released despite the fact that it was produced by Ravayat-e Fath Foundation. In fact, reportedly the producer prevented the movie, which is about a military commander obsessed with attacking an American warship who also has problems with his son, from being screened. A very high quality video of this movie was however widely and illegally distributed.{{Sfn|Farhi|2004|p=120}}

Cinematic style

As of Richard Peña, The Red Ribbon (1999) reminds a bit of some of the later absurdist dramas by Fernando Arrabal. It is a dense and highly metaphoric drama involving three characters and set in a tank graveyard in the no-man's-land between Iran and Iraq.{{Sfn|Peña|1999|p=71}} He aspires to the technical sophistication of Hollywood.{{Sfn|Zeydabadi-Nejad|2008|page=133}}

Hatamikia was one of the few war filmmakers with a previous background in Super 8 and animated film production who joined Jihad's Television unit and the IRGC's Audiovisual unit in 1986.{{Sfn|Naficy|2012|pp=26–27}} He uses the war and its extreme situations as a vehicle to negotiate camouflaged taboo topics.{{Sfn|Wittmann|2015|p=78}} In From Karkheh to Rheine a few veterans doubt about their participation in the war.{{Sfn|Moallem|2018|p=493}} The television series The Red Soil (2002–2003) momentarily exposes the absurdity of the concept of the nation as a homogeneous entity, with depiction of the confusion around which side of the border belongs on during the Iraqi occupation while portrays in-between spaces of an Iranian Arab and an Iraqi Arab.{{Sfn|Moallem|2018|p=499}}

His films brilliantly deal with the different and unexpected types of returns. Through the image of exiles seen in From Karkheh to Rhein and The Scent of Joseph's Shirt, Roxanne Varzi notes that the audience come to understand the international scope of the war, and that what binds a nation is so much more than land. Hatamikia believes none Iranian could escape the mark of war, by virtue of association. Therefore, every Iranian takes part in the act of mourning.{{Sfn|Varzi|2006|p=192}} His films open a new and safe realm for mourning through presenting the nation with its death in a beautiful and artistic way. Aftermore, by influences of Morteza Avini in The Chronicles of Victory (1986–1988) war documentary television series, Hatamikia depicts returning from the imaginary realm through the very visual realm that made that journey possible. At the same time that these films reinstate the importance of faith, they stress the importance of remaining in the realm of the real, with those who are still with us.{{Sfn|Varzi|2006|pp=192–193}} In The Glass Agency, he envisages martyrdom as the only possible and proper ending for a war veteran.{{Sfn|Momeni|2019|p=191}} He draw on the themes of the Karbala paradigm, specially martyrdom and self-sacrifice,{{Sfn|Lotfalian|2009|p=165}} and employs elements of the Ta'ziyeh.{{Sfn|Wittmann|2015|p=79}} Also, concept of Mostaz'af is present in his films.{{Sfn|Moallem|2016|p=}}

In particular, Hatamikia's melodramas have been the hallmark of war films after Morteza Avini's films of the Sacred Defense. Hatamikia's films centered on the trauma of war veterans and the destitute lives they have lived in the post-war period, while Avini's films promoted the heroism of soldiers and the necessity of fighting for the Islamic Republic, however both directors have upheld a somber vision of the war hero.{{Sfn|Kim|2014|p=159}}

Even though the war cinema addresses the ideological, charismatic and populist characteristics of the political system, these are raised in the context of war, not as political criticism. In effect these films belong to the war genre rather than a political genre. Because of the agitated political atmosphere of the country, many films were considered political. This was because people were searching for symbolism when analyzing these films.{{Sfn|Haghighi|2002|p=113}} Ebrahim Hatamikia shot From Karkheh to Rhine in Germany, a country in the West. The film is a call for reunion, for the return of women who have been alienated by the Revolution, especially those who have physically left home for the West. In this film, the split between men and women — in this case brother and sister — and the cultural space between them are shown by the different countries in which they live. The westernized sister has to be reconciled with her radical religious Iranian brother.{{Sfn|Saeed-Vafa|2002|p=208}} the film was a powerful indictment of the failures of the state to honour its soldiers. Though highly acclaimed by {{ill|Adineh (magazine)|lt=Adineh|fa|آدینه (نشریه)}} and other art magazines, Kayhan was quick to denounce the film as yet another example of failure of the cinema to mark the successes and glories of the war. The paper warned its readers about the new immoral trend and noted that yet again the Ministry of Culture and Islamic Guidance was at fault; its cinema section had provided a $1 million budget for the film.{{Sfn|Omid|1994|p=175}}

The Scent of Joseph's Shirt (1996) is Hatamikia's first female-centric film. The female characters in Hatamikia's films usually have a visible presence even though they may not be the main characters.{{Sfn|Ghorbankarimi|2015|p=112}}

The war era has become the theme of many films, with some of them representing the situation of cities in the wartime. Hatamikia in Union of the Good (1992) portrays the general image of Tehran as a quiet city that turned to a location of a rocket war and sometimes this calmness and quietness breaks with the sound of ambulances and fire-fighting alarms.{{Sfn|Goharipour|2016|p=50}}

Recognition

Hatamikia is one of the most notable members of a group of Iranian filmmakers who experienced the Iran-Iraq War{{Sfn|Sadr|1999|p=33}} and one of the first Basij filmmakers that took a critical look at post-war Iran by portraying the disillusionment of war veterans and their treatment by both secular society and the government that reneged on its promises. His films appeal to a broad audience because they delicately tread the thin line between what many secular Iranians define as typical Basij government propaganda and the secular anti-government sentiment. In so doing, his films have allowed a space for Iranians to begin to think about and debate the war. Also, they have encouraged a generation of young Iranians to rethink the war and revolutionary values in general.{{Sfn|Varzi|2006|p=177}}

His ability to translate an American film scenario for an Iranian audience and make it look like the Iran-Iraq war points to the

universality of war, is an issue which overlooked by film critics. However The Glass Agency (1998) was dismissed by American critics as nothing more than an attempt to make an Iranian version of Dog Day Afternoon (Sidney Lumet, 1975), Hatamikia went on to make other imitations, like The Red Ribbon (1999), which looks a lot like The English Patient (Anthony Minghella, 1996).{{Sfn|Varzi|2006|p=258}}

Political views

He criticized assassination attempt of the reformist Saeed Hajjarian by writing an open letter to the nation.{{Sfn|Varzi|2006|p=172}}

Filmography

class="wikitable"

|+Key

| style="background:#FFFFCC;" | {{dagger|alt=Films that have not yet been released}}

| Denotes films that have not yet been released

= as director =

== Short films ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" rowspan="2" width="250" | Title

! scope="col" rowspan="2" | Year

! scope="col" colspan="2" | Credited as

! scope="col" rowspan="2" class="unsortable" width="300" | Notes

! scope="col" rowspan="2" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

width="50" | Writer

! width="50" | Other

scope="row" | The Promised

| 1982{{efn|name=np|Product year. The film was not screened.}}

| {{Yes}}

| {{N/a}}

| Animation film

|

scope="row" | Proud's Sequel

| 1982{{efn|name=np}}

| {{Yes}}

| {{N/a}}

|

|

scope="row" | Blinds of Heart

| 1982{{efn|name=np}}

| {{Yes}}

| {{N/a}}

|

|

scope="row" | Sacred Soil

| 1985{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Earth |url=https://cicinema.com/en/movies/14044/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Path

| 1985{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Way |url=https://cicinema.com/en/movies/14032/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Red Carcanet

| 1986{{efn|name=year}}

| {{Yes}}

| {{Yes}}

| Also cinematographer

| {{cite web |title=The Red Carcanet |url=https://cicinema.com/en/movies/14038/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

== Feature films ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" rowspan="2" width="250" | Title

! scope="col" rowspan="2" | Year

! scope="col" colspan="2" | Credited as

! scope="col" rowspan="2" class="unsortable" width="300" | Notes

! scope="col" rowspan="2" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

width="50" | Writer

! width="50" | Other

scope="row" | Identity

| 1987{{efn|name=year|Premiere year on Gregorian calendar.
Note that in Cinema of Iran, production year of each film on Solar Hijri calendar is considered as specific year of that film, which is a Gregorian year before the date showed here.}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Identity |url=https://cicinema.com/en/movies/10693/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Scout

| 1989{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Scout |url=https://cicinema.com/en/movies/7796/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Immigrant

| 1990{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Immigrant |url=https://cicinema.com/en/movies/8792/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|Union of the Good|fa|وصل نیکان}}

| 1992{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Union of the Good |url=https://cicinema.com/en/movies/9274/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | From Karkheh to Rhein

| 1993{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=From Karkheh to Rhein |url=https://cicinema.com/en/movies/9306/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|The Green Ashes|fa|خاکستر سبز}}

| 1994{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Green Ashes |url=https://cicinema.com/en/movies/10868/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Scent of Joseph's Shirt

| 1996{{efn|name=year}}

| {{Yes}}

| {{Yes}}

| Cameo

| {{cite web |title=The Scent of Joseph's Shirt |url=https://cicinema.com/en/movies/11062/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Minoo Watchtower

| 1996{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Minoo Watch-Tower |url=https://cicinema.com/en/movies/11060/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Glass Agency

| 1998{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Glass Agency |url=https://cicinema.com/en/movies/10701/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Red Ribbon

| 1999{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=The Red Ribbon |url=https://cicinema.com/en/movies/11626/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|Dead Wave|fa|موج مرده}}

| 2001{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Dead Wave |url=https://cicinema.com/en/movies/8052/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Low Heights

| 2002{{efn|name=year}}

| {{Yes}}

| {{No}}

| Co-written with Asghar Farhadi

| {{cite web |title=Low Heights |url=https://cicinema.com/en/movies/7962/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | In Amethyst Color

| 2005{{efn|name=year}}

| {{Yes}}

| {{Yes}}

| Co-edited with Sohrab Khosravi

| {{cite web |title=The Color Purple |url=https://cicinema.com/en/movies/13572/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | In the Name of the Father

| 2006{{efn|name=year}}

| {{Yes}}

| {{Yes}}

| Co-produced with Mohammad Pirhadi

| {{cite web |title=In the Name of the Father |url=https://cicinema.com/en/movies/10546/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Invitation

| 2008{{efn|The film premiered on the same Gregorian year which the film was produced on it.}}

| {{Yes}}

| {{Yes}}

| Cameo; Co-written with Chista Yasrebi

| {{cite web |title=Invitation |url=https://cicinema.com/en/movies/9883/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|The Report of a Party|fa|گزارش یک جشن}}

| 2011{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Report a Celebration (The Report of a Party) |url=https://cicinema.com/en/movies/12526/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Che

| 2014{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=CHE |url=https://cicinema.com/en/movies/12356/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Bodyguard

| 2016{{efn|name=year}}

| {{Yes}}

| {{Yes}}

| Cameo

| {{cite web |title=Bodyguard |url=https://cicinema.com/en/movies/11882/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Damascus Time

| 2018{{efn|name=year}}

| {{Yes}}

| {{No}}

|

| {{cite web |title=Damascus Time |url=https://cicinema.com/en/movies/13402/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Exodus

| 2020{{efn|name=year}}

| {{Yes}}

| {{No}}

|

|

Moses the Kalimullah: At Dawn

|2025

|Yes

|Yes

|

|

== TV series ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" rowspan="2" width="250" | Title

! scope="col" colspan="2" | Credited as

! scope="col" rowspan="2" class="unsortable" width=300 | Original air date

! scope="col" rowspan="2" | Network

! scope="col" rowspan="2" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

width="50" | Writer

! width="50" | Other

scope="row" | {{ill|The Red Soil (TV series)|lt=The Red Soil|fa|خاک سرخ}}

| {{No}}

| {{No}}

| 25 September 2002 – 15 January 2003

| IRIB TV1

| {{cite news |title=Hatamikia's The Red Soil will be on air from first Wednesday of Mehr |url=https://www.isna.ir/news/8105-05099/ |agency=Iranian Students News Agency |date=12 August 2002 |language=fa}}

scope="row" | {{ill|The Green Ring (TV series)|lt=The Green Ring|fa|حلقه سبز}}

| {{Yes}}

| {{No}}

| 20 October 2007 – 23 February 2008

| IRIB TV3

| {{cite news |title=Hatamikia's The Green Ring will launch from 28th Mehr |url=https://www.isna.ir/news/8105-05099/ |agency=Iranian Students News Agency |date=9 October 2007 |language=fa}}{{cite web |url=https://jamejamonline.ir/fa/news/162550/ |website=Jam-e-Jam Online |title=In praise of love, in praise of life |date=1 March 2008 |language=fa}}

Moses the Kalimullah

|Yes

|Yes

|

|

|

= other works =

== Short films ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" width="250" | Title

! scope="col" | Year

! scope="col" | Credited as

! scope="col" width="180" | Director(s)

! scope="col" class="unsortable" width=300 | Notes

! scope="col" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

scope="row" | Arise

| 1984

| Cinematographer

| Nosratollah Karimi

| Documentary film

| {{cite web |title=Arise |url=https://cicinema.com/en/movies/14083/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Fátima

| 1995

| Cinematographer

| {{sort|0|{{N/a}}}}

| Documentary film

| {{cite news |last1=Saffarian |first1=Nasser |title=…thou wilt deprive the religion of splendour |newspaper=Salam |date=4 December 1995 |page=7 |language=fa}}

  • {{cite web |script-title=fa:… ببری رونق مسلمانی |url=http://www.saffarian.ws/Articles.aspx?ID=b9ad92c417124b36b6a153291084edb8 |website=Nasser Saffarian |language=fa}}
scope="row" | The Glass Meeting

| 2017{{efn|name=year}}

| Producer,
Screenwriter

| {{sort|Hatamikia|Yousef Hatamikia}}

|

| {{cite web |url=http://moqavematfilmfest.ir/FestivalDetail/1648 |archive-url=https://web.archive.org/web/20190418034314/http://moqavematfilmfest.ir/FestivalDetail/1648 |url-status=dead |archive-date=18 April 2019 |website=Resistance International Film Festival |title=14th Festival - The Glass Meeting |language=fa |access-date=18 April 2019}}

== Feature films ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" width="250" | Title

! scope="col" | Year

! scope="col" | Credited as

! scope="col" width="180" | Director(s)

! scope="col" class="unsortable" width="300" | Notes

! scope="col" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

scope="row" | {{ill|Paranoia (1986 film)|lt=Paranoia|fa|توهم (فیلم ۱۳۶۴)}}

| 1986{{efn|name=year}}

| Camera Assistant

| {{sort|Hajimiri|{{ill|Saeed Hajimiri|fa|سعید حاجی‌میری}}}}

| Cameo

|

scope="row" | Transition

| 1989{{efn|name=year}}

| Producer

| {{sort|Tabrizi|Kamal Tabrizi}}

|

| {{cite web |title=Transition |url=https://cicinema.com/en/movies/7826/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|The Love Squadron|fa|اسکادران عشق}}

| 1998{{efn|name=year}}

| Screenwriter

| {{sort|Hajimiri|{{ill|Saeed Hajimiri|fa|سعید حاجی‌میری}}}}

| Co-written with {{ill|Saeed Hajimiri|fa|سعید حاجی‌میری}}

| {{cite web |title=The Love Squadron |url=https://cicinema.com/en/movies/10703/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | {{ill|The Private Life of Mr. & Mrs. M|fa|زندگی خصوصی آقا و خانم میم}}

| 2012{{efn|name=year}}

| Actor

| {{sort|Hejazi|Rouhollah Hejazi}}

|

| {{cite web |title=The Private Life of Mr. & Mrs. M |url=https://cicinema.com/en/movies/12651/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | The Eye of War

| 2016{{efn|name=year}}

| Producer

| {{sort|Hatamikia|Yousef Hatamikia,
Mehdi Borjian}}

| Documentary film

| {{cite web |title=The Eye of War |url=https://cicinema.com/en/movies/2631/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

== TV Series ==

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" width="250" | Title

! scope="col" | Year

! scope="col" | Credited as

! scope="col" width="180" | Director(s)

! scope="col" class="unsortable" width="300" | Notes

! scope="col" | Network

! scope="col" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

scope="row" rowspan="3" | The Chronicles of Victory

| 1987

| Cinematographer

| {{sort|Avini|Morteza Avini}}

| S04E05: "Magic or miracle?"
Co-photographed with Hassan Pirhadi

| IRIB TV1

| {{cite magazine |last1=Ostadi |first1=Massoud |title=A look to film-making career of the Matryr Sayyed Morteza Avini |magazine=Shahīd-i Yārān |date=June 2008 |volume=31 |issue=31 |pages=90–95 |url=https://www.noormags.ir/view/en/articlepage/340960/ |url-access=subscription |publisher=Foundation of Martyrs and Veterans Affairs |language=fa |oclc=244453769 |via=Noormags}}

  • {{cite web |script-title=fa:فیلم شناسی شهید آوینی |url=https://rasekhoon.net/article/show/206185/ |website=Rasekhoon |date=31 January 2012 |language=fa}}
1988

| Cinematographer

| {{sort|Avini|Morteza Avini}}

| S05E10: "Another shine (1)"

| IRIB TV1

|

1988

| Cinematographer

| {{sort|Avini|Morteza Avini, Himself}}

| S05E11: "Another shine (2): Mr. Saeid"

| IRIB TV1

| {{cite web |title=The Glass Agency - Director's Biography |url=http://www.varahonar.com/index.php?option=com_content&view=article&id=145&Itemid=137 |website=Varahonar film company |access-date=15 May 2020}}

scope="row" | Oil's Journey

| 2000

| Cinematographer,
Screenwriter

| {{sort|Asgharzadeh|{{ill|Ebrahim Asgharzadeh (director)|lt=Ebrahim Asgharzadeh|fa|سید محمد ابراهیم اصغرزاده}}}}

| Documentary series in 13 episodes
Co-Written with {{ill|Ebrahim Asgharzadeh (director)|lt=Ebrahim Asgharzadeh|fa|سید محمد ابراهیم اصغرزاده}}

| Sahar TV

| {{cite journal |last1=Najvan |first1=Omid |title=Oil; from sea to… |journal=Film |date=June 1999 |issue=235 |language=fa}}

  • {{cite web |title=ScreenShot |url=http://fa.farzadkhoshdast.com/wp-content/uploads/2019/02/Natamam-125.jpg |format=JPG |website=farzadkhoshdast.com}}{{cite news |title=Sahar TV turned seventeen |agency=Young Journalists Club |url=https://www.yjc.ir/fa/news/5042436/ |date=16 November 2014 |language=fa}}
scope="row" | Kolah Ghermezi 88

| 2009

| Actor

| {{sort|Tahmasb|Iraj Tahmasb}}

| Himself at episode 7

| IRIB TV2

| {{cite web |last1=Soufi |first1=Parya |title=Hatamikia's episode of Kolah Ghermezi postponed to tomorrow |url=http://www.cinemaema.com/module-pagesetter-viewpub-tid-26-pid-474.html |website=Our Cinema |archive-url=https://web.archive.org/web/20090329101146/http://www.cinemaema.com/module-pagesetter-viewpub-tid-26-pid-474.html |archive-date=29 March 2009 |language=fa |date=25 March 2009}}

= Documentary appearances =

class="wikitable sortable plainrowheaders" style="text-align:center;"
scope="col" width="250" | Title

! scope="col" | Year

! scope="col" width="180" | Director(s)

! scope="col" class="unsortable" width="300" | Notes

! scope="col" class="unsortable" | {{abbr|Ref(s)|Reference(s)}}

scope="row" | The Chronology of An Unfinished Script

| 1999{{efn|name=year}}

| {{sort|Asgharzadeh|{{ill|Ebrahim Asgharzadeh (director)|lt=Ebrahim Asgharzadeh|fa|سید محمد ابراهیم اصغرزاده}}}}

| {{ill|Dead Wave|fa|موج مرده}} making-of

| {{cite web |title=The Chronology of an Unfinished Script |url=https://cicinema.com/en/movies/4210/ |website=Chronicle of Iranian Cinema |access-date=29 April 2020}}

scope="row" | Friendly Persuasion: Iranian Cinema After the 1979 Revolution

| 2000

| {{sort|Akrami|Jamsheed Akrami}}

|

| {{cite news |last1=Holden |first1=Stephen |author-link1=Stephen Holden |title=FILM REVIEW; Even Veils Can't Hide The Artistry Of Iranians |url=https://www.nytimes.com/2001/03/23/movies/film-review-even-veils-can-t-hide-the-artistry-of-iranians.html |url-access=subscription |work=The New York Times |date=23 March 2001 |page=22}}

scope="row" | Voice of Golich Valley

| 2004{{efn|name=year}}

| {{sort|Ghasemi|Ali-Mohammad Ghasemi}}

|

| {{cite news |title=Second day of Kish Documentary Film Festival screened Voice of Golich Valley and Sound of Moon |agency=Iranian Students News Agency |url=https://www.isna.ir/news/8211-01788/ |date=25 January 2004 |language=fa}}{{cite web |last1=Zandi |first1=Neda |title=Documentaries about the cinema |url=http://www.cinematajrobi.ir/news/714 |website=Experimental Cinema |language=fa |date=8 August 2011}}

scope="row" | Iran: A Cinematographic Revolution

| 2006

| {{sort|Takmil Homayoun|Nader Takmil Homayoun}}

|

| {{cite magazine |last1=Edwards |first1=Russell |date=17 April 2007 |title=Iran: A Cinematographic Revolution |url=https://variety.com/2007/film/reviews/iran-a-cinematographic-revolution-1200560068/ |magazine=Variety |volume=406 |issue=10 |page=23}}

scope="row" | Heart-dependent

| 2007{{efn|name=year}}

| {{sort|Najvan|Omid Najvan}}

| The Glass Agency making-of

| {{cite news |title=A film which only one bullet is fired in it |agency=Mehr News Agency |url=https://www.mehrnews.com/news/484574/ |date=12 May 2007 |language=fa}}{{cite web |last1=Tahaminejad |first1=Mohammad |author-link1=Mohammad Tahaminejad |title=Portrait and biographical documentary: differences and methods (Part 2) (New edition) |url=http://anthropology.ir/article/5026.html |publisher=Iranian Academy of the Arts |language=fa |date=April 2010 |orig-date=September 2007 |via=Anthropology and Culture website}}

scope="row" | The Green Route

| 2008{{efn|name=year}}

| {{sort|Najvan|Omid Najvan}}

| {{ill|The Green Ring (TV series)|lt=The Green Ring|fa|حلقه سبز}} making-of

| {{cite news |title=A documentary about an unlucky TV series |agency=Mehr News Agency |url=https://www.mehrnews.com/news/651240/ |date=9 March 2008 |language=fa}}

scope="row" | The Red Ribbon

| 2009

| {{sort|'Atefi|Reza 'Atefi}}

| The Red Ribbon making-of

| {{cite news |title=New season of "A Film, An Experience" will be on air from next week |agency=Mehr News Agency |url=https://www.mehrnews.com/news/856983/ |date=9 April 2009 |language=fa}}

scope="row" | Mud-Brick and Mirrors

| 2009

| {{sort|Rastin|{{ill|Shadmehr Rastin|fa|شادمهر راستین}}}}

|

| {{cite news |title=Documentary Reflecting Filmmakers' View on Tehran Finished |url=https://en.mehrnews.com/news/31633/ |agency=Mehr News Agency |date=9 January 2009}}

scope="row" | Root in the Soil

| 2010

| {{sort|Khalilzadeh|Mohammad Khalilzadeh}}

|

| {{cite news |title=Root in the Soil documentary screens on the second anniversary of Nader Ebrahimi |agency=Iranian Students News Agency |url=https://www.isna.ir/news/8903-02170/ |date=24 May 2010 |language=fa}}

scope="row" | Wild Ducks

| 2015

| {{sort|Hatamikia|Yousef Hatamikia}}

| {{ill|The Report of a Party|fa|گزارش یک جشن}} making-of

| {{cite web |title=The director's anxieties for making of a work which that banned |url=https://www.khabaronline.ir/news/401287/ |website=Khabar Online |language=fa |date=21 February 2015}}

scope="row" | Gohar Kheirandish: A Filmography

| 2015

| {{sort|Heidary|Pouria Heidary Oureh}}

|

| {{cite web |title=Gohar Kheirandish: A Filmography premieres tomorrow in the Mellat Multiplex |url=http://donyayecinema.ir/detail/12716/ |website=Cinema World |language=fa |date=11 September 2015}}

scope="row" | Ebrahim's Dream

| 2017

| {{sort|Karimi|Mahmoud Karimi}}

| Che making-of

| {{cite news |title=Ebrahim's Dream discussed |agency=CinemaPress |url=http://cinemapress.ir/news/90800/ |date=28 November 2017 |language=fa}}

scope="row" | Ebrahim's Rushes

| 2018

| {{sort|0|{{N/a}}}}

| His works' making-of in 13 episodes

| {{cite news |title=When Hatamikia directs Low Heights |agency=Holy Defense News Agency |url=https://defapress.ir/fa/news/284867/ |date=27 March 2018 |language=fa}}

scope="row" style="background:#FFFFCC;" | The Robin {{dagger}}

| 2020

| {{sort|Imani|Sajjad Imani}}

|

| {{cite news |title=Editing of The Robin finished |url=https://www.borna.news/fa/tiny/news-1009511 |agency=Borna News |date=1 June 2020 |language=fa}}

Awards and nominations

{{Main|List of awards and nominations received by Ebrahim Hatamikia}}

Footnotes

= Notes =

{{Notelist}}

= References =

{{reflist|2}}

= Sources =

{{refbegin|indent=yes}}

  • {{cite journal |last1=Abecassis |first1=Michaël |title=Iranian War Cinema: Between Reality and Fiction |journal=Iranian Studies |date=May 2011 |volume=44 |issue=3 |pages=387–394 |doi=10.1080/00210862.2011.556390|s2cid=162722028 }}
  • {{cite encyclopedia |last1=Akrami |first1=Jamsheed |title=CINEMA ii. Feature Films |encyclopedia=Encyclopædia Iranica |year=1992 |publisher=Encyclopaedia Iranica Foundation |isbn=0933273673 |volume=5 |pages=572–579 |url=http://www.iranicaonline.org/articles/cinema-ii |editor1-last=Yarshater |editor1-first=Ehsan |editor1-link=Ehsan Yarshater}}
  • {{cite book |author1=ASL19 |author1-link=ASL19 |editor1-last=Decherney |editor1-first=Peter |editor2-last=Atwood |editor2-first=Blake |editor1-link=Peter Decherney |title=Iranian Cinema in a Global Context: Policy, Politics, and Form |date=2014 |publisher=Routledge |location=Abingdon, Oxon |isbn=9781315771373 |pages=229–242 |chapter=Censorship in Iranian Cinema}}
  • {{cite book |last1=Bajoghli |first1=Narges |title=Iran Reframed: Anxieties of Power in the Islamic Republic |date=2019 |publisher=Stanford University Press |location=Stanford |isbn=9781503608849}}
  • {{cite journal |last1=Behrouzan |first1=Orkideh |title=Medicalization as a way of life: The Iran-Iraq War and considerations for psychiatry and anthropology |journal=Medicine Anthropology Theory |date=December 2015 |volume=2 |issue=3 |pages=40–60 |doi=10.17157/mat.2.3.199 |url=http://www.medanthrotheory.org/read/5774/medicalization-way-of-life|doi-access=free }}
  • {{cite book |author1-last=Devictor |author1-first=Agnès |editor1-last=Khosronejad |editor1-first=Pedram |editor1-link=Pedram Khosronejad |title=Iranian Sacred Defense Cinema: Religion, Martyrdom and National Identity |date=2012 |publisher=Sean Kingston Publishing |location=Canon Pyon |isbn=978-1907774171 |pages=161–173 |chapter=How Can Faith Be Filmed on the Battlefront and Experienced by TV Spectators?}}
  • {{cite book |last1=Esfandiary |first1=Shahab |title=Iranian Cinema and Globalization: National, Transnational, and Islamic Dimensions |date=2012 |publisher=Intellect |location=Bristol |isbn=9781841504704}}
  • {{cite book |last1=Farhi |first1=Farideh |editor1-last=Potter |editor1-first=Lawrence G. |editor2-last=Sick |editor2-first=Gary G. |editor2-link=Gary Sick |title=Iran, Iraq, and the Legacies of War |date=2004 |publisher=Palgrave Macmillan |location=New York |isbn=9781349958221 |pages=101–120 |chapter=The Antinomies of Iran's War Generation}}
  • {{cite book |last1=Fischer |first1=Michael M. J. |author-link1=Michael M. J. Fischer |title=Mute Dreams, Blind Owls, and Dispersed Knowledges: Persian Poesis in the Transnational Circuitry |date=2004 |publisher=Duke University Press |location=Durham |isbn=0822385511}}
  • {{cite journal |last1=Ghanoonparvar |first1=M. R. |author-link1=M.R. Ghanoonparvar |title=Postrevolutionary Trends in Persian Fiction and Film |journal=Radical History Review |date=Fall 2009 |volume=2009 |issue=105 |pages=156–162 |doi=10.1215/01636545-2009-013}}
  • {{cite book |last1=Ghorbankarimi |first1=Maryam |title=A Colourful Presence: The Evolution of Women's Representation in Iranian Cinema |date=2015 |publisher=Cambridge Scholars Publishing |location=Newcastle upon Tyne |isbn=978-1443882729}}
  • {{cite book |last1=Ginsberg |first1=Terri |last2=Lippard |first2=Chris |title=Historical Dictionary of Middle Eastern Cinema |date=2010 |publisher=Scarecrow Press |location=Lanham, Maryland |isbn=978-0810873643}}
  • {{cite book |last1=Goharipour |first1=Hamed |editor1-last=Arefian |editor1-first=Fatemeh Farnaz |editor2-last=Moeini |editor2-first=Seyed Hossein Iradj |title=Urban Change in Iran: Stories of Rooted Histories and Ever-accelerating Developments |date=2016 |publisher=Springer |location=Heidelberg |isbn=9783319261133 |pages=47–57 |chapter=A Review of Urban Images of Tehran in the Iranian Post-revolution Cinema}}
  • {{cite book |last1=Haghighi |first1=Ali Reza |editor1-last=Tapper |editor1-first=Richard |editor1-link=Richard Tapper |title=The New Iranian Cinema Politics, Representation, and Identity |url=https://archive.org/details/newiraniancinema00tapp |url-access=limited |date=2002 |publisher=I.B. Tauris |isbn=1860648045 |pages=[https://archive.org/details/newiraniancinema00tapp/page/n125 109]–116 |chapter=Politics and Cinema in Post-revolutionary Iran: An Uneasy Relationship}}
  • {{cite book |editor1-last=Jahed |editor1-first=Parviz |title=Directory of World Cinema: Iran |volume=1 |date=2012 |publisher=Intellect |location=Bristol |isbn=9781841503998}}
  • {{cite book |last1=Keddie |first1=Nikki R. |last2=Richard |first2=Yann |author-link1=Nikki Keddie |author-link2=Yann Richard |title=Modern Iran: Roots and Results of Revolution |url=https://archive.org/details/moderniranrootsr00kedd |url-access=registration |date=2003 |publisher=Yale University Press |isbn=9780300121056 |edition=2nd}}
  • {{cite book |last1=Kim |first1=Somy |editor1-last=Devi |editor1-first=Gayatri |editor2-last=Rahman |editor2-first=Najat |title=Humor in Middle Eastern Cinema |date=2014 |publisher=Wayne State University Press |location=Detroit |isbn=9780814339374 |chapter=Comedic Mediations: War and Genre in The Outcasts}}
  • {{cite journal |last1=Lotfalian |first1=Mazyar |title=Islamic Revolution and the Circulation of Visual Culture |journal=Radical History Review |date=Fall 2009 |volume=2009 |issue=105 |pages=163–167 |doi=10.1215/01636545-2009-014}}
  • {{cite book |last1=Moallem |first1=Minoo |author-link1=Minoo Moallem |editor1-last=Bhavnani |editor1-first=Kum-Kum |editor2-last=Foran |editor2-first=John |editor3-last=Kurian |editor3-first=Priya A. |editor4-last=Munshi |editor4-first=Debashish |editor1-link=Kum-Kum Bhavnani |editor2-link=John Foran (sociologist) |editor3-link=Priya Kurian |title=Feminist Futures: Reimagining Women, Culture and Development |date=2016 |publisher=Zed Books |location=London |isbn=9781783606412 |edition=2nd |pages=344–365 |chapter=Revisiting the Mostaz'af and the Mostakbar}}
  • {{cite book |last1=Moallem |first1=Minoo |author-link1=Minoo Moallem |editor1-last=Magnan-Park |editor1-first=Aaron Han Joon |editor2-last=Marchetti |editor2-first=Gina |editor3-last=Tan |editor3-first=See Kam |title=The Palgrave Handbook of Asian Cinema |date=2018 |publisher=Palgrave Macmillan |location=London |isbn=9781349958221 |pages=489–506 |chapter=Staging Masculinity in Iran–Iraq War Movies}}
  • {{cite journal |last1=Momeni |first1=Esha |title=Red Death and Black Life: Media, Martyrdom and Shame |journal=Middle East Critique |date=June 2019 |volume=28 |issue=2 |pages=177–195 |doi=10.1080/19436149.2019.1599538|s2cid=182597406 }}
  • {{cite book |last1=Naficy |first1=Hamid |author-link1=Hamid Naficy |editor1-last=Leaman |editor1-first=Oliver |editor1-link=Oliver Leaman |title=Companion Encyclopedia of Middle Eastern and North African Film |url=https://archive.org/details/companionencyclo00leam |url-access=limited |date=2001 |publisher=Routledge |location=London |isbn=0415187036 |pages=[https://archive.org/details/companionencyclo00leam/page/n146 130]–222 |chapter=Iranian cinema}}
  • {{cite book |last1=Naficy |first1=Hamid |author-link1=Hamid Naficy |title=A Social History of Iranian Cinema, Volume 4: The Globalizing Era, 1984–2010 |date=2012 |publisher=Duke University Press |location=Durham |isbn=9780822348665}}
  • {{cite book |last1=Omid |first1=Homa |title=Islam and the Post-Revolutionary State in Iran |date=1994 |publisher=Macmillan Press |location=London |isbn=9781349232482}}
  • {{cite journal |last1=Peña |first1=Richard |author-link1=Richard Peña |title=Being There |journal=Film Comment |date=May–June 1999 |volume=35 |issue=3 |pages=70–71 |url=https://www.filmcomment.com/article/1999-tehran-film-festival-being-there/ |jstor=43455394}}
  • {{cite book |last1=Rahbaran |first1=Shiva |author-link=Shiva Rahbaran |title=Iranian Cinema Uncensored: Contemporary Film-makers Since the Islamic Revolution |date=2016 |publisher=I.B. Tauris |isbn=9781784534172}}
  • {{cite book |last1=Rastegar |first1=Kamran |editor1-last=Thiranagama |editor1-first=Sharika |editor2-last=Kelly |editor2-first=Tobias |title=Traitors: Suspicion, Intimacy, and the Ethics of State-Building |date=2010 |publisher=University of Pennsylvania Press |location=Philadelphia |isbn=9780812205893 |pages=188–199 |chapter=The Glass Agency: Iranian War Veterans as Heroes or Traitors?}}
  • {{cite book |last1=Rastegar |first1=Kamran |title=Surviving Images: Cinema, War, and Cultural Memory in the Middle East |date=2015 |publisher=Oxford University Press |isbn=9780199390175}}
  • {{cite book |last1=Riahi |first1=Marjan |editor1-last=Khakpour |editor1-first=Arta |editor2-last=Khorrami |editor2-first=Mohammad Mehdi |editor3-last=Vatanabadi |editor3-first=Shouleh |editor2-link=Mohammad Mehdi Khorrami |title=Moments of Silence: Authenticity in the Cultural Expressions of the Iran-Iraq War, 1980–1988 |date=2016 |publisher=New York University Press |location=New York |isbn=9781479805099 |pages=176–189 |chapter=Shadows of War: An Overview of Iranian War Films from 1980 to 1988}}
  • {{cite book |last1=Rivetti |first1=Paola |title=Political Participation in Iran from Khatami to the Green Movement |date=2020 |publisher=Palgrave Macmillan |location=Cham, Switzerland |isbn=9783030322007}}
  • {{cite book |last1=Sadr |first1=Hamid Reza |author-link1=Hamid Reza Sadr |editor1-last=Issa |editor1-first=Rose |editor2-last=Whitaker |editor2-first=Sheila |editor2-link=Sheila Whitaker |title=Life and Art: The New Iranian Cinema |date=1999 |publisher=British Film Institute |location=London |isbn=0851707750 |pages=26–43 |chapter=Contemporary Iranian Cinema and Its Major Themes}}
  • {{cite book |last1=Sadr |first1=Hamid Reza |author-link1=Hamid Reza Sadr |title=Iranian Cinema: A Political History |date=2006 |publisher=I.B. Tauris |location=London |isbn=9780415455374}}
  • {{cite book |last1=Saeed-Vafa |first1=Mehrnaz |editor1-last=Tapper |editor1-first=Richard |editor1-link=Richard Tapper |title=The New Iranian Cinema Politics, Representation, and Identity |url=https://archive.org/details/newiraniancinema00tapp |url-access=limited |date=2002 |publisher=I.B. Tauris |isbn=1860648045 |pages=[https://archive.org/details/newiraniancinema00tapp/page/n216 200]–214 |chapter=Location (Physical Space) and Cultural Identity in Iranian Films}}
  • {{cite journal |last1=Saeidi |first1=Shirin |last2=Vafa |first2=Amirhossein |title=After Isolation: Mirrors between Parallel Worlds and New Conceptual Spaces of Activism in Post-Revolutionary Iran |journal=Millennium |date=June 2019 |volume=47 |issue=3 |pages=417–443 |doi=10.1177/0305829819840800|s2cid=181896831 }}
  • {{cite book |last1=Strohmaier |first1=Alena |title=Medienraum Diaspora: Verortungen zeitgenössischer iranischer Diaspora filme |series=Neue Perspektiven der Medienästhetik |url=https://link.springer.com/book/10.1007%2F978-3-658-24606-8 |date=2019 |publisher=Springer |location=Wiesbaden |doi=10.1007/978-3-658-24606-8 |isbn=978-3-658-24605-1 |s2cid=166098004 |language=de}}
  • {{cite book |last1=Varzi |first1=Roxanne |author-link1=Roxanne Varzi |editor1-last=Tapper |editor1-first=Richard |editor1-link=Richard Tapper |title=The New Iranian Cinema Politics, Representation, and Identity |url=https://archive.org/details/newiraniancinema00tapp |url-access=limited |date=2002 |publisher=I.B. Tauris |isbn=1860648045 |pages=[https://archive.org/details/newiraniancinema00tapp/page/n170 154]–166 |chapter=A Ghost in the Machine: The Cinema of the Iranian Sacred Defence}}
  • {{cite book |last1=Varzi |first1=Roxanne |author-link1=Roxanne Varzi |title=Warring Souls: Youth, Media, and Martyrdom in Post-Revolution Iran |date=2006 |publisher=Duke University Press |location=Durham |isbn=9780822388036}}
  • {{cite journal |last1=Wittmann |first1=Matthias |title=Krieg und Revolution im Kino des Iran: Eine Telescopage |journal=Mittelweg 36 |date=June–July 2015 |volume=24 |issue=3 |pages=64–83 |url=http://edoc.unibas.ch/45166/ |language=de |issn=0941-6382}}
  • {{cite book |last1=Zeydabadi-Nejad |first1=Saeed |editor1-last=Ridgeon |editor1-first=Lloyd |title=Iranian Intellectuals: 1997–2007 |date=2008 |publisher=Routledge |location=Abingdon, Oxon |isbn=978-0415443289 |pages=115–138 |chapter=Iranian Intellectuals and Contact with the West: The Case of Iranian Cinema}}
  • {{cite book |last1=Zeydabadi-Nejad |first1=Saeed |title=The Politics of Iranian Cinema: Film and Society in the Islamic Republic |date=2009 |publisher=Routledge |location=Abingdon, Oxon |isbn=9780415455374}}

{{refend}}

External links

{{Sister project links|wikt=no|c=Category:Ebrahim Hatamikia|n=no|q=no|s=no|b=no|v=no|d=Q3046874}}

  • {{AlloCiné name|28400}}
  • {{IMDb name|0368690}}
  • {{Metacritic person|ebrahim-hatamikia}}
  • {{Rotten Tomatoes person|ebrahim-hatamikia}}
  • {{SourehCinema name|138111270000}}
  • [https://web.archive.org/web/20060813210656/http://www.sasite.net/hatamikia/ Ebrahim Hatamikia's First website] (in Persian)
  • [https://web.archive.org/web/20161016175931/http://www.ebrahimhatamikia.com/ Ebrahim Hatamikia's Second website] (in Persian)
  • [https://web.archive.org/web/20051225013203/http://www.farhangsara.com/hatamikia.htm Ebrahim Hatamikia's Biography]
  • [http://www.varahonar.com/index.php?option=com_content&view=article&id=145&Itemid=137 Ebrahim Hatamikia's portfolio]

{{Ebrahim Hatamikia}}

{{Navboxes

|title = Awards for Ebrahim Hatamikia

|list =

{{Crystal Simorgh Best Director}}

{{Crystal Simorgh Best Screenplay}}

}}

{{Authority control}}

{{DEFAULTSORT:Hatamikia, Ebrahim}}

Category:1961 births

Category:Living people

Category:Iranian Azerbaijanis

Category:Iranian film directors

Category:Iranian screenwriters

Category:Film people from Tehran

Category:Crystal Simorgh for Best Director winners

Category:Producers who won the Best Film Crystal Simorgh

Category:Crystal Simorgh for Best Screenplay winners