Today, tens of thousands of films are being shown in all cinemas, accompanied by flashy sponsorships. Producers, their legs trembling with excitement at the prospect of box office success, market a huge market adorned with camera angles, casts, and prestigious directors as cinema. Compradors who can no longer make money in cinemas that are now practically deserted have turned to digital platforms, releasing dozens of films daily, asking themselves, "What sells more?" Holding the umbrella of art within this sector, they are quite pleased to be the Dante of the twenty-first century, quite content to be the lost philosophers of a forgotten era.   But we know that this is not what cinema is!

Cinema is the sixth branch of art, and it is quite natural that it is affected by the corruption in contemporary art. The flawed structure of bourgeois class identity has led to the stagnation of artistic production, which it transformed from a productive to an imitative position, as the crises of capitalism intensified. We also know very well that the censorship policies applied by the imperialist world to revolutionary art today stem from their desire to prevent the shaking and collapse of this mentality. Looking at this event from a historical perspective, we see that revolutionary art movements emerge and gain strength in such periods, overthrowing the outdated bourgeois dominance. Therefore, we should not view this current event with interest, but rather move forward in the light of the solution. Just as there were once people who "made art" for three pennies from the emperor, today there are people who "made art" for three pennies to be earned from the market. Just as those who raised the true voice of the people were in the mountains in those times, today they are behind prison bars.

The bourgeois dominance of art is doomed to oblivion! Everything we call art today is created solely by revolutionary art. Indeed, as Paul Gauguin said, " art is either imitation or revolution," a statement proven to us by history.

If we are the subjects of history, then it is unacceptable for us to be mere spectators in the face of these dynamics. If art is a language of expression, let's reclaim the language of expression that has been stolen from us!

Iron Curtain wishes to declare that it will take pride in harshly criticizing bourgeois cinema. It will advocate for revolutionary cinema against bourgeois cinema; we will approach every film made and every movement followed with our revolutionary class identity, and we will resist those who occupy not only our cinemas but also our language of expression—that is, ourselves, which is closer to us than we are to ourselves—we will be an iron curtain against them and we will reclaim it!