Ctrl Meets Iranian Director - Zamani Esmati

Zamani Esmati is an internationally renowned Iranian director, whose film ‘Orion’ recently screened at the BFI London Film Festival. Ctrl.Alt.Shift's Sofya Shahab caught up with him to talk about his decision to enter the film industry, the effects of censorship on the arts in Iran, and whether it's possible to escape the politics when making films under what he finds is a repressive regime... 

What was it that led you to pursue a career in the film industry?

I was 12 or 13 years old when I decided that I wanted to be able to tell stories and this continued until the end of my high school education. In the meantime, towards the end of my high school education, I became familiar with and interested in cinema. Felini’s ‘The Road’, was the film that influenced me most in deciding to become a director and this decision was later reinforced by ‘The Bicycle Thief’.  

Of course the international success of the Iranian cinema also played a role in my decision. In particular the awards given to Kia Rostamy, Panahi and others made me see that cinema is a form of art that can make an unknown Iranian into a global personality. For a period of time, I closely followed Iranian Film Festivals; however these festivals can sometimes take over a person’s life. When you open your eyes, you realise that you have been separated from what you were hoping to achieve - your childish goal of saving humanity, has been reduced to a desperate struggle for admission to a festival.    

These festivals, even from the most positive view point, are shamefully political instruments. They have specific agendas which you blindly adhere to. I do not know how others in the film industry have reacted, but when I realized that I was hooked to that system, I stopped producing any films for almost six years. I am not interested in politics - my passion is for making art and it is through the ‘art of cinema’ that I can be inspired.     

The Iranian film industry is well represented and respected internationally, could you tell me why you think there has been an increased interest in these films?  

At first, Iranian cinema in the West became known for its simplicity of form; combined with realism and deep philosophical thought. In this way, Iranian cinema was able to view and present the people’s issues in a way that had no precedent in western cinemas. The films made by Sohrab Shahid Sales and Abbas Kia Rostami are good examples of how these cinematic techniques can come together to deliver a powerful message. As a result of this, expectations surrounding Iranian directors have grown and great Iranian filmmakers have become known for their innovative and distinct techniques - representing Iranian film around the world. However, in some ways this has meant that other forms or techniques in Iranian cinema - such as story telling - have been overlooked and have failed to attract Western attention. Furthermore, the next generation of filmmakers were unable to understand and continue with the same style or build upon it. Instead they opted for simplicity and superficiality in both the methods that they used and the stories that they told. Unfortunately, this resulted in some pretty bad Iranian movies finding their ways into international film festivals and reducing the status and valued reputation of earlier Iranian cinema.  

"It appears that (some) governments seek to limit peoples’ freedom, whilst artists look to define, expand and promote freedom"

Which directors inspired you most?  

Steven Spielberg; not only is he a master of technique, but he manages to conquer the hearts of the viewers, which is a special form of cinematic magic.  

Who have been your favourite Iranian actors/actresses to work with and why? And who would you hope to work with in the future?

In general Iranian stars have been unable to understand and fulfil the great mission of being a role model for their society. During the key turning points in Iranian history, most of them have failed to make the right decision. I think it is more honourable to sell yourself as a prostitute than to sell out your beliefs as an artist. However there are of course some exceptional personalities amongst Iranian artists; for example, Golshifteh Farahani. She is a fantastic artist, who is not only a brilliant actress, but also a great musician. I hope that one day she will be able to return to Iran, so that we can work together. In fact I have a role that I believe can only be played by her...

Your film 'Orion' was shot without permits and cannot be shown in Iran. How do you think censorship is impacting upon directors and their ability to create?  

Of course any type of control and censorship results in lowering the quality of thought and production, as well as viewers’ reception of the film. However, these controls cannot stunt the creativity of talented directors who have something to say. They are able to use their artistic abilities and, without using the instruments of sex or violence, present their thoughts in different and symbolic ways.  

"I believe social and political difficulties are inseparable. Social problems will always manifest themselves in political upheavals"

When creating a 'contentious' film, are the cast and crew aware of the situation? Do they debate the implications of developing a political spectacle, or is it all about the art of film and professionalism?

As I have mentioned before, my motives are social, not political. I hate politics. However, in any critical presentation of social issues it is inevitable that there will be strong political implications, and in many ways we hope to hit out at the political system. I believe social and political difficulties are inseparable. Social problems will always manifest themselves in political upheavals. As social beings, we need to have governments, but within the governing systems, individual human rights should be respected. When human rights are disregarded, in my opinion, anarchism is a legitimate reaction and criticism of dictatorial governments. I chose cinema and the art of making movies, because it is far more beautiful and goes beyond politics.  Both governments and artists have their own distinct duty and responsibilities. It appears that (some) governments seek to limit peoples’ freedom, whilst artists look to define, expand and promote freedom. I hope that one day artists will be able to fulfil their roles as well as governments do theirs.  

Within the film you raise many issues surrounding women's rights… do you think this could be seen as a form of activism?

In my view, today’s feminism is not only failing to advance the cause of women, but it is even damaging positive relationships between the sexes. The issues women face in Iranian society are not that different from those many of the men must deal with. My film, ‘Orion’ is not an attempt to solely highlight the plight of women - it is a film that attempts to show the importance of respecting every individual. It is a reminder to those that have forgotten about individual human rights.  

Your film 'Orion' premiered recently in London at the BFI festival, do you have any new projects coming up?  

It has been six years since I last produced any new films, but I have four complete scenarios that I hope to make. Presently, I am doing my best to start shooting one of them this winter. Unfortunately, I cannot accept (nor would I be given) support from the Iranian government to do this, which makes it difficult. Foreign support is also not very forthcoming - they are happy to benefit from and praise my films in their festivals but won’t help me make them. Sadly, in recent years, most of the Iranian films shown at foreign festivals have not been a real representation of the capability of the Iranian cinema. Given this situation, I sometimes think that the highest elements of Iranian cinema are being knowingly ignored.   

Words: Sofya Shahab

Photo: A snapshot from 'Orion'.

To read more about the first London Iranain film festival click here [1]