Films in the “Economic War” category aim to show how citizens, producers, and active groups confront structural limits and inefficiencies, proving that local ideas and models can drive the nation’s economy. These films not only record reality but also depict possible paths of progress and constructive action as part of the “Iranian Dream” told through art.

Dr. Mohammad‑Hasan Yadegari, judge of the “Economic War and Iranian Dream” section at the 15th Ammar Popular Film Festival, explained: “No nation, society, or individual can be perfect in every field. We should take pride in the domains where we have strength and expand them. The belief that we must excel in all areas is unrealistic—even civilization‑builders have limits.”

**The Iranian Dream: Focus on Strengths**
Highlighting Iran’s capacities, he said: “Economic issues may not be easily solved—wrong people in leadership have created cultural and media distortions—but Iran has valuable achievements in academia, medicine, defense, and urban management. These are assets we’ve failed to promote properly.” Yadegari cited examples like affordable, accessible healthcare and regulated food pricing, contrasting them with the housing crisis rooted in poor decisions. “Iranian Dream means recognizing real existing strengths, not longing for what we don’t have,” he noted.
He added that, inspired by the “American Dream,” Iran must craft its own version fitting its culture and values—centering on nationally motivating achievements, not imported ideals.

**Ammar Festival: Grassroot Platform for Inspirational Faces**
Assessing progress toward these goals, Yadegari said: “Ammar is grassroots and spontaneous; it shouldn’t be expected to operate with huge budgets or bureaucracy. Worldwide, informal festivals have become cultural milestones—like Woodstock 1969 in the U.S.” He emphasized continuity and structured management, adding that success relies on planning, training, funding, and production reinforcement. Both Ammar and Truth Festivals face fluctuations in quality that depend on leadership and support. “A key mission of the Iranian Dream section is to introduce anonymous innovators and economic pioneers through documentary storytelling,” he stressed.

**Discovering and Training Young Documentary Talent**
Yadegari said: “Film quality partly stems from a director’s creativity, but mostly from support and motivation. Finding who has real potential takes time and organized mentorship through workshops.” Proper design allows only the most driven filmmakers to emerge annually, but they still require funding. “Without support, ideas stay unrealized,” he said.

**Field Experience: The Real Growth Path**
He stressed: “No young person can make a professional film alone. It’s an industrial process that demands teams with equipment and experience. Growth comes from hands‑on practice—I began as an assistant, cameraman, technical manager, then learned to make short films. That’s the natural path: learning through action.”

**The Thin Line Between Critique and Pessimism**
He said that crafting a story balancing realism and hope is crucial. “If the subject lacks that balance, the filmmaker’s skill keeps truth from turning into despair.” Proper research and scripting lead to authentic yet uplifting works without sliding into dark portrayals.

**From Idea to Screenplay: Stories of Hope**
He explained that audiences connect with those who turn hardship into progress for the public good. “Economic and success stories are as captivating as romantic ones—financial triumph is a human journey that, if told right, inspires.” Recalling his screenplay *Return to Happiness*, he shared how it showcased Iranian entrepreneurs overcoming adversity. Though production was halted, he called such works essential for fostering hope. “The Iranian Dream is precisely that—hope through our own abilities.”

**Art as the Start of Self‑Belief and National Progress**
Yadegari noted: “Art sparks dreams and ambition, turning imagination into reality—especially in youth. I don’t believe in innate talent; persistence creates ability. Success worldwide stems from diligence and conviction, not genius.” He viewed visualization and aspiration as vital from childhood: “I still chase my teenage dreams—successful people never stop pursuing them.”

**Media Lifestyle: Professionalism in Art**
He advised young filmmakers: “To be an artist, you need a media lifestyle—constant study, watching films, engaging thinkers, and planning what to read or film monthly.” He himself draws inspiration from history, cultural industries, literature, and sports, emphasizing that this continuous immersion builds expertise. “Art, science, and technique form the triangle of growth,” he said.

**Knowing Iranian Culture: Foundation of the Iranian Dream**
He concluded: “To realize the Iranian Dream, we must understand our society—what people want, how they live, and how to speak their language. Any filmmaker who masters this context can make their domain the center of their world. No one opens the path for you; you must carve it yourself through focus, perseverance, and insight.”