Somayeh Haqnegahdar to Voice of America: The Islamic Republic's Pressure on Artists Aims to Control and Censor Them

As protests from filmmakers, cinema organizations, and film festivals continue against the accusations made by the Islamic Republic against two Iranian writers and directors, Behtash Sanaeiha and Maryam Moghaddam, who are banned from leaving the country, Somayeh Haqnegahdar, a documentary filmmaker, in an interview with Voice of America, stated that the widespread international reactions to the situation of Iranian filmmakers under repression and censorship reflect a greater awareness of the global filmmaking community regarding these conditions. Somayeh Haqnegahdar, a documentary filmmaker and a member of the Independent Filmmakers Association of Iran, told Voice of America: "Behtash Sanaeiha and Maryam Moghaddam, a couple and cinematic collaborators, who are currently working on their new film, are facing charges such as propaganda against the regime and actions against national security, and are awaiting trial." She further added that the responsible authorities in the Islamic Republic deemed their new film titled "My Favorite Cake" to be "sensitive" and for this reason, after the issuance of the travel ban, prevented them from traveling to France to complete the production of this work. According to Somayeh Haqnegahdar, the recorded images and all contents related to this film, a joint product of Iran and France, have been confiscated. She continued: "For years, the Islamic Republic has been trying to control and censor artists, especially filmmakers, through pressure, a control and censorship that in many cases has led to the official or unofficial banning of filmmakers from working, and in some cases has forced filmmakers to leave their country." Ms. Haqnegahdar stated: "Specifically, after the 'Women, Life, Freedom' movement, the Islamic Republic has taken clear and widespread actions to threaten, arrest, and suppress filmmakers who they do not consider aligned with the regime's demands. Stricter control over produced works and the travel bans on many filmmakers continue this repression and control." She added: "However, the absence of Iranian filmmakers invited to festivals and cinematic events has not gone unnoticed by the global filmmaking community. The widespread international reactions reflect a greater awareness of the filmmaking community in various countries regarding the situation of Iranian filmmakers under repression and censorship. On the one hand, this could increasingly discredit the Islamic Republic in the cinematic arena and make the repressive and anti-art nature of this government more apparent." Somayeh Haqnegahdar considers the fruitful presence of emerging associations such as the Independent Filmmakers Association of Iran at important global film festivals as one of the factors contributing to greater awareness of the conditions of filmmakers in Iran, especially independent filmmakers, within the global filmmaking community. According to this documentary filmmaker, the travel bans on Behtash Sanaeiha and Maryam Moghaddam, which occur as part of the pressure on Iranian filmmakers by the Islamic Republic, have faced widespread global reactions, with 30 festivals, cinema institutions, and international filmmakers recently issuing an open letter to the Islamic Republic demanding the cancellation of the charges against these artists and the lifting of their travel bans. She further noted that on December 14, the Rotterdam International Film Festival, the Amsterdam International Documentary Film Festival, the European Film Academy, and the Coalition of Filmmakers at Risk also issued a joint statement calling the increased efforts of the Islamic Republic's authorities in recent weeks to arrest, harass, torture, and impose restrictions on Iranian filmmakers alarming. According to Somayeh Haqnegahdar, Behtash Sanaeiha and Maryam Moghaddam, with cinematic projects such as "The Probability of Acid Rain" and "The White Cow's Ode," are among the filmmakers concerned with social and human issues in Iran. Referring to the film "The White Cow's Ode," made in 2019, she describes it as a delicate and intelligent narrative of judgment, retribution, and what happens in the judicial system of the Islamic Republic. This film did not receive a screening permit from the Ministry of Culture and Islamic Guidance, and despite being nominated for consideration to be sent to the Academy Awards, it lost its chance to participate in the Oscars due to the lack of a screening permit. Despite the illegal distribution of "The White Cow's Ode," which according to Behtash Sanaeiha and Maryam Moghaddam was a fatal blow to their lifeless film, the screening of this work has attracted the attention of audiences and critics in 30 countries worldwide. Ms. Haqnegahdar states: "This film has been confiscated by the Ministry of Culture and Islamic Guidance and the Attorney General for four years now, and the reason for its confiscation is the complaint of the Quds Force of the Islamic Revolutionary Guard Corps against the producer and director of the film for propaganda against the regime, a familiar accusation from the judiciary that suppresses any criticism and discourse." The White Cow's Ode tells the story of a woman whose husband is executed for murder, but after the execution and during the judicial process, she learns of his innocence through the confession of the actual murderer.