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Widespread tributes have been shared for Bahram Beyzai, a giant of Iranian cinema and theatre, who has died aged 87 in the US.

Homeland in Mourning

The front pages of publications in Iran lament his loss, with opposition voices and those who reflect nostalgically on the pre-revolution period also paying homage to Beyzai.

"This loss is a great loss for the art and culture of our country," remarked Prince Reza Pahlavi, son of the last Shah of Iran.

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

The Teacher of a Generation

Many of the current crop of Iranian filmmakers have expressed their gratitude to him. Jaafar Panahi noted that Beyzai showed them "how to stand up to oblivion."

Beyzai steered clear of direct political references in his work, both as a playwright and a film director, and always maintained he tried not to trade in overt messages.

But his work over countless years sets archetypal characters in conflict with oppressive structures of power.

Roots in Tradition

Hailing from a lineage of renowned poets, Beyzai was steeped in the richest heritage of Iranian artistry from birth.

He first found fame as a theater writer, drawing on 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 spanned the time of the Shah and then the Islamic theocratic forces that deposed him—with each regime constantly poised to detect subtext that could be interpreted as dissent.

"Beyzai did not choose the path of least resistance. He withstood years of marginalization, imposed silence, and exile, but he did not give up his language and his beliefs," stated the filmmaker in his tribute.

A Masterpiece Amidst Conflict

A few years after the 1979 Revolution, he produced what many regard as his masterpiece, Bashu, the Little Stranger, about a small boy who tries to take refuge from the devastating conflict.

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

The film was screened in a restored version at this year's Venice Biennale, winning an award for best film in the heritage category.

A Hopeful Exile

Beyzai ultimately departed Iran in 2010 and spent his later years in the US, where he lectured on Iranian culture.

Even after he left his homeland, his wife, the actress Shamsai, said just the sound of the word "Iran" would still bring tears to his eyes—and he continued to hope for a renewed spirit and future for his homeland.