Amidst the escalating tensions in the Middle East following the events of October 7, 2023, and the increasing scrutiny of Iran's role in this complex landscape, Iranian cinema made a significant impact at the Cannes Film Festival held from May 14 to May 25, 2024.
This interest was further heightened by the recent skirmishes between Israel and Iran, following Israel's targeting of the Iranian consulate in Damascus, along with the tragic helicopter crash that claimed the lives of President Ibrahim Raisi and Foreign Minister Amir-Abdollahian.
Political Tensions and Cinema
Iranian cinema holds a unique position in that sense, as it inherently becomes an act of resistance against an oppressive regime, even when it does not explicitly aim to be political. Despite stringent restrictions, Iranian cinema has secured its place in the most prestigious international film festivals and events, with the Cannes Film Festival being no exception.
This scenario underscores the influential role of film as a powerful tool of communication in international relations.
Rasoulof's Resilience
On May 24, 2024, just two days after President Ibrahim Raisi's funeral, Iranian director Mohammad Rasoulof, who had fled Iran, captured global attention by walking the red carpet at the Cannes Film Festival. Rasoulof held images of actors Missagh Zareh and Soheila Golestani, a powerful gesture that quickly spread across newspapers and social media platforms worldwide. Both actors, currently residing in Iran, are at risk due to their leading roles in his film.
Iranian authorities sentenced Rasoulof to imprisonment, flogging, and confiscation of property. He was accused of filming The Seed of the Sacred Fig without a permit and of endangering national security. The actresses' appearance in the film without a hijab was deemed a blatant violation of Iranian censorship rules. The film crew was also pursued, detained, and interrogated in an attempt to pressure the director to withdraw his film from the official competition at the Cannes Film Festival.
Faced with the dire choices of prison or escape, Rasoulof opted for the latter. His perilous journey stirred emotional responses from many. He fled on foot through a rugged, secret mountain path, a journey that lasted nearly 28 days, until he crossed the Iranian border with the assistance of German authorities. Rasoulof expressed that he chose exile with a heavy heart to continue making films and sharing the stories of his people with the world.
"My mission is to convey the narratives of what is happening in Iran and the situation we are stuck in as Iranians," Rasoulof said. "This is something I cannot do from prison."
The film centers on a troubled detective marked by deep suspicion and pervasive distrust, particularly following the mysterious disappearance of his personal weapon amid widespread protests in Iran. Convinced that his wife and daughters are involved, he enforces strict restrictions at home, exacerbating the already high tensions. Rasoulof reveals that the film draws inspiration from real events and characters, capturing the essence of Iranian society and the hidden dynamics behind closed doors.
Shortly before the film's screening at the Cannes Film Festival, and just days after the death of President Ibrahim Raisi, a group of international directors from various nationalities signed a solidarity message with Mohammad Rasoulof and other Iranian directors facing ongoing persecution. This was in response to Rasoulof's call for global filmmakers to support their Iranian colleagues against a regime that stifles social life, as expressed in the letter.
The Directors Guild of America also issued a statement condemning the situation faced by Rasoulof, expressing solidarity with him, and affirming that freedom of expression is inseparable from human rights. Rasoulof stood before nearly 2,300 people inside the Lumiere Hall, accompanied by members of the film crew who managed to leave Iran, including actresses without hijabs. The national flag was raised, bearing the slogan of Iran’s protesters: "Woman, Life, Freedom," amidst applause from the international audience that lasted about 15 minutes, presenting another image of Iran.
The Seed of the Sacred Fig was awarded a special jury prize, recognizing the enormous sacrifices Rasoulof and his team made to bring the film to light. This award also conveyed the message that art is not a crime deserving punishment. In his acceptance speech, Rasoulof mentioned his film crew still in danger in Iran, expressed deep sadness for the daily pain and suffering endured by the Iranian people under the regime's rule, and called for solidarity with all artists and filmmakers imprisoned in Iran.
Navigating the Paradox of Freedom and Censorship
Iranian filmmakers have skillfully navigated the fluctuating boundaries of freedom dictated by the country’s rulers. The reformist party, for example, offers a broader scope for filmmakers compared to the conservatives. Despite facing numerous challenges, including prison sentences, house arrest, and professional bans, directors like Jafar Panahi, Mohammad Rasoulof, and Asghar Farhadi have managed to secretly film their movies and smuggle them to major international festivals.
A notable instance is Jafar Panahi’s Taxi (2015), where he portrays a taxi driver interacting with various passengers who represent different segments of society. The film was discreetly transported out of Iran on a USB hidden inside a cake and subsequently screened at the Berlin Film Festival, where it won the prestigious Golden Bear award.
International festivals have provided unwavering support for these filmmakers, becoming a crucial platform for them to share their stories with the world. Since Abbas Kiarostami's Taste of Cherry won the Palme d'Or at Cannes in 1997, Iranian cinema has maintained a consistent presence at top international festivals. Even when filmmakers were barred from attending due to imprisonment or travel bans, their films continued to be showcased. The sight of empty seats reserved for absent Iranian directors became a powerful symbol, drawing international sympathy and highlighting the oppressive nature of the Iranian regime.
This unique scenario has garnered significant global attention and raised questions about the resilience of Iranian cinema in the face of adversity. Amidst a regime marked by extreme conservatism and stringent censorship, Iranian films strive to break down barriers, offering a glimpse into the heart of Iranian society. These filmmakers have successfully overcome numerous obstacles, presenting an alternative narrative that vividly conveys the political and social realities of Iran.
Cinema as Social Commentary
The global interest in Iranian films has surged due to Iran's prominent presence on the international stage and the curiosity about its society, which markedly differs from that of the West. Iranian cinema has successfully unveiled an alternative narrative of Iran, fostering empathy and a sense of shared humanity with its people, despite widespread criticism of the Iranian regime.
During the peak of tensions between the United States and Iran, heightened by Iran's nuclear program and escalating sanctions, Asghar Farhadi's film A Separation made history by winning the Oscar for Best Foreign Language Film in 2012. Building on this success, Farhadi won another Oscar in 2017 for The Salesman, a poignant film that explores the severe psychological and social pressures faced by a couple seeking justice after the wife is assaulted.
Farhadi chose not to attend the 2017 Oscar ceremony in protest of President Trump's travel ban on citizens from seven Middle Eastern countries, including Iran. Instead, a letter denouncing these decisions was read on his behalf by Anousheh Ansari, an Iranian-American engineer and space pioneer. This act of protest received widespread acclaim globally and within Hollywood. Interestingly, despite the regime’s usual stance, they praised Farhadi's position, supported his message to the United States, and congratulated him on his victory.
Iranian cinema, with its emphasis on the everyday lives of ordinary citizens, has consistently illuminated the evolving socio-political landscape within Iran. Over decades, from one generation of filmmakers to the next, it has offered an alternative narrative to the world.
In 2022, Saeed Roustayi's film Leila's Brothers poignantly depicted the erosion of the middle class under the dual pressures of governmental policies and economic sanctions. The film not only mirrored the prevailing social conditions but also foreshadowed a potential political upheaval. This premonition materialized a few months after the film's debut at Cannes, when widespread protests erupted in September 2022 following the death of 22-year-old Mahsa Amini. Arrested by the morality police for allegedly wearing her hijab improperly, Amini's death sparked demonstrations across Iran. Protesters chanted "Woman, life, freedom," with many women defiantly removing, burning their hijabs, and cutting their hair publicly. These powerful images quickly spread worldwide through social media.
In response to the film's critical stance, Leila's Brothers was banned in Iran. The lead actress faced imprisonment for posting photos of herself without a hijab in support of the movement. Additionally, the film's director and producer were sentenced for screening the film at Cannes without official permission. Many filmmakers who voiced support for the protests were similarly arrested, imprisoned, and barred from their profession.
In conclusion, Iranian cinema has successfully brought to the international stage voices that would otherwise be silenced and censored. By doing so, it has managed to establish a different and nuanced image of Iran. In the current era, particularly with the advent of the artificial intelligence revolution, it has become increasingly difficult for autocratic regimes to monopolize a single image or narrative. Modern communication tools now provide unprecedented opportunities for the dissemination of diverse images and stories in our interconnected world.
These new developments are poised to significantly impact the nature of international communication and the dynamics of international relations. This inevitable shift will challenge long-standing assumptions that have prevailed for decades. Consequently, it is imperative for everyone to reconsider and find innovative ways to leverage communication tools within the context of the new global landscape, with cinema playing a leading role.
