The Outcome of Iran's Underground Cinema in the Two Years Since the 'Women, Life, Freedom' Movement

The extent of changes that occurred in various sectors of Iranian cinema in the past two years following the 'Women, Life, Freedom' protests exceeded all expectations and was different from all periods in the four decades since the 1979 revolution. The most apparent manifestation of these changes was the empowerment of the informal and underground sector of this cinema, which, by offering a significant number of films made without adhering to the censorship laws of the Islamic Republic, became a representative of Iran at many international festivals and events. These developments have drawn attention to the breadth and depth of changes in the attitudes and actions of a group of Iranian filmmakers. This report reviews the most important films of this movement that have been showcased at various global festivals. 'Crisis Zone' (Ali Ahmadzadeh) presents a candid and bold narrative of several hours in the life of a drug dealer in today's Tehran, accompanied by various individuals from less visible segments of Iranian society, made without the usual concealment and moralism of the official Iranian cinema. The seasons depicting the main character's interactions with different young women and the portrayal of these women transform 'Crisis Zone' into a symbolic work expressing individual and social demands of women, especially considering the timing of its production in the months leading up to the protests. 'Crisis Zone' won the Best Film award at the prestigious Locarno Festival in August 2023, marking one of the most significant successes for films made without government permits in recent years. 'Earthly Verses' (Ali Asgari, Alireza Khatami) was first screened at the Cannes Festival in 2023; it is an episodic film that depicts the direct confrontation of citizens from various ages and backgrounds in today's Iran with the norms and demands imposed on their lives. The audience sees the characters of 'Earthly Verses' facing the camera while discussing and indeed arguing with others about various issues. The faces of those they are conversing with are not shown, but each of them, in different situations, attempts to impose the government's demands. Throughout these situations, the resistance and steadfastness of the citizens against the demands of the opposing side are evident. The presence of several well-known actors from Iranian cinema and television, including Gohar Kheirandish and Majid Salehi, in this unauthorized film made inside Iran is noteworthy. This film has also been one of the most successful Iranian films screened in various European countries over the past two years, with over one hundred thousand viewers in France, and total sales reaching nearly $900,000. 'Cafe' (Navid Mihan Doust) is the second film by a director who has recently been entangled with long prison sentences due to making a documentary about Masih Alinejad. Although 'Cafe' was made while adhering to the mandatory hijab law, its subject revolves around a filmmaker who has been deprived of work by government authorities and faces the challenge of staying or leaving Iran while dealing with economic difficulties. This unauthorized work is one of the Iranian films that has been showcased at several major international festivals, including the Thessaloniki Festival. Navid Mihan Doust made this film during his leave from prison, clearly narrating part of the pressures he and many critical and opposing artists face. Scenes of the filmmaker's dialogue with his interrogator at the Ministry of Intelligence and the interrogator's insistence on the necessity of the filmmaker's cooperation with security agencies by providing reports on his acquaintances exemplify this approach. 'Cafe' was screened at international festivals while its creator was in prison. 'Me, Maryam, the Kids, and 26 Others' (Farshad Hashemi) was one of the first films made without adhering to the mandatory hijab censorship for female actors in Iran and was showcased at various international festivals, including the Rotterdam Festival. This short film is about a young woman who offers her home to a film crew to make a short film about a failed relationship between a man and a woman. In this short film, the government's censorship rules, including the hijab of female actors, are observed, but behind the scenes, the normal lives of individuals, including the non-mandatory dress of women and physical contact between women and men, are ongoing. Such a structure allows for a clear and intelligent comparison of the current reality in government-approved films with the prevailing life. 'Achilles' (Farhad Delaram) narrates the journey of a disillusioned young man from social conditions alongside a female political prisoner on the way out of the country. In 'Achilles,' less visible characters from Iranian society are depicted, such as a political prisoner who is hospitalized for unclear reasons in the psychiatric ward or a grieving mother whose child was killed due to political issues. The film, which can be seen as a manifestation of the ongoing resistance of Iranian society against government demands, was first screened in October 2023 as a product of Iran, Germany, and France at the Toronto Film Festival. This is Farhad Delaram's first feature film, who previously won an award in the Generation section of the Berlin Festival in 2019 with his short film 'Tattoo.' 'Endless' (Nader Saei Var) is the second feature film by a filmmaker whose name has been associated with Jafar Panahi in recent years; it presents a shocking narrative of an ordinary citizen's unintended confrontation with the security forces of the Islamic Republic and becoming trapped in their conspiracy-driven perspective. This film is notable for its intensity and clarity in portraying the actions of these forces, leaving a profound impact on the viewer. 'Endless' was first shown in October 2022 at the Busan Festival in South Korea. The actions of Chinese officials in preventing its screening at the Hainan Festival in China, despite being selected for competition, were significant developments surrounding this film. 'Dark Matter' (Karim Lakzadeh) offers a relatively abstract narrative of the younger generation's struggle to reject imposed censorship. Karim Lakzadeh, the director of 'Dark Matter,' who was previously active in the official cinema and television, narrates a story of a three-way friendship and a young woman's decision to abandon the hijab during the making of a film. 'Dark Matter' was first screened at the Karlovy Vary Festival in 2023. 'My Favorite Cake' (Maryam Maqdum, Behtash Sanaeiha) is one of the most prominent films influenced by the 'Women, Life, Freedom' movement, further demonstrating the impact of this movement on the production process of official Iranian cinema. Despite receiving a production permit, this film was made without adhering to the censorship of female actors' hijab, featuring Li Li Farahpour and Ismail Mehrabi, and tells the story of a woman who, tired of her monotonous life, wants to spend a night according to her wishes and interests with a man of the same age at her home. The film's narrative clearly reflects part of the community's demands in Iran for a normal and ordinary life. The formation of a legal case against the two directors of the film and their travel bans showcases the government's anger at the making of a film that could initiate a new path in the professional and storytelling landscape of Iranian cinema. The remarkable success of 'My Favorite Cake' in its European screenings indicates increased international attention to the unofficial films of Iranian cinema. The film's screening in the competition section of the Berlin Festival in 2023 and winning the Best Film award from the FIPRESCI jury is another sign of international interest in the unofficial cinema of Iran. 'Depth of Night' (Farhad Wilkiji) attempts to express the symbolic position of an intellectual in authoritarian and censored societies, with the renowned actor Ali Mosafa playing the main role. This film narrates the story of a writer and translator who, under pressure from censorship and various restrictions, goes with his wife and child to a remote village to finish writing a book. 'Depth of Night' was first screened in the market section of the Cannes Festival in 2024. 'Fig of the Temples' (Mohammad Rasoulof) presents a unique narrative of the deep-rooted ideological crises among the families of the Islamic Republic's officials from the perspective of one of the most prominent protest filmmakers after the 1979 revolution. It is a gripping thriller about the life of a revolutionary court judge who, amid escalating protests, becomes suspicious of his wife and young daughters after losing his weapon. The film's screening in the competition section of the Cannes Festival in 2024 and its reception with a special jury award is another indication of global attention to Iran's unofficial cinema. Rasoulof's exit from Iran with this film and Germany's introduction of it to the Academy Awards adds unprecedented aspects to a film that can serve as a document of the 'Women, Life, Freedom' protests. The performance of the cast of 'Fig of the Temples,' especially the actors including Mithaq Zareh, Soheila Golestani, Setareh Eskandari, and Mahsa Rostami as their daughters, is one of the film's strengths. 'Witness' (Nader Saei Var) is a film that, according to its creator, is a product of the 'Women, Life, Freedom' protests and symbolically displays the changes occurring in Iranian society through the differences between generations of women and the pragmatism of the younger generation. The film is about three women from different generations who become involved in a murder case, a murder in which a government official is also implicated. 'Witness,' featuring Maryam Bobani, Hana Kamkar, and Ghazal Shojaei, was screened in the 'Horizons Expanded' section of the Venice Festival in 2024 without adhering to the Islamic Republic's censorship laws, including the mandatory hijab for female actors, and won the audience award for Best Film in this section. Jafar Panahi is one of the screenwriters of this film and its consulting director. 'Seven Days' (Ali Samadi Ahadi) presents a symbolic narrative of the exhausting challenges faced by Iranian women political activists and the price they and their families pay, with a screenplay by Mohammad Rasoulof. 'Seven Days' is one of the best examples of films made outside Iran with a theme related to political challenges. The collaboration of a group of Iranian filmmakers residing inside or recently exited from Iran with their compatriots living abroad has played a significant role in aligning the final product with the current reality in Iran. Vishwa Asayesh's performance without a hijab in 'Seven Days' is considered one of the prominent roles in this renowned actress's career. The underground and unofficial cinema of Iran has continued its activities in the past two years despite the government's open opposition, and reports indicate the production of several other similar films in recent months; a trend that seems to have no intention of stopping for now.