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

Homeland in Mourning

The headlines of Iranian newspapers lament his loss, with dissenting figures and those who look back fondly on the pre-revolution period also offering their respects to Beyzai.

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

Although Beyzai's later films were prohibited in the 1980s by the Islamic regime, a number of senior figures in the current government have also paid tribute his legacy to Persian arts.

The Teacher of a Generation

Several of the contemporary generation of Persian directors have acknowledged their debt to him. Award-winning director Jaafar Panahi said that Beyzai showed them "the way to resist oblivion."

Beyzai steered clear of direct political references in his work, both as a playwright and a film director, and always said he tried not to deal in explicit commentary.

But his work over many decades sets archetypal characters in conflict with authoritarian structures of power.

A Cultural Foundation

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

He first rose to prominence as a theater writer, inspired by Persian legend and ritual.

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

He gained acclaim as one of the pivotal artists in the new wave of Persian film.

An Enduring Voice

His most fruitful era spanned the time of the Shah and then the Islamic theocratic forces that overthrew him—with each regime ever ready to sniff out hidden messages that could be seen as criticism.

"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 artistic voice and his convictions," stated Jaafar Panahi in his tribute.

A Masterpiece Amidst Conflict

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

It was banned in Iran—as were subsequent works he made in that period—but later chosen by film critics as the best 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 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 the sound of the word "Iran" would still make him emotional—and he continued to hope for a renewed spirit and tomorrow for his native land.