Before Saeed Roustayee’s “Woman and Child” debuts at the approaching Cannes Film Festival, his latest creation has ignited intense debate that mirrors introspective deliberation among Iran’s troubled movie industry.
The growing emotional responses and viewpoints towards the film “Woman and Child” have led fellow Iranian director Mohammad Rasoulof, who fled to Europe in May 2024 following a jail sentence from Iranian authorities for his work on “The Seed of the Sacred Fig,” to publicly support Roustayee. This stance was taken after a group of filmmakers critical of the Iranian government argued that Cannes was appeasing Iran’s oppressive rulers by choosing “Woman and Child,” which they believe was made with government approval and thus is propaganda, as stated by the Iranian Independent Filmmakers Association in an Instagram post.
Two Iranian films, titled ‘Woman and Child’ and ‘It Was Just An Accident,’ are set to compete at Cannes, with the latter being directed by esteemed dissident filmmaker Jafar Panahi. It remains uncertain whether either of these directors based in Iran will attend the event on the Croisette.”
Or, more colloquially:
“Two movies from Iran, ‘Woman and Child’ and ‘It Was Just An Accident,’ are going to be competing at Cannes. The latter one is by the renowned dissident filmmaker Jafar Panahi. It’s still not clear if either of them will show up at the Cannes festival.
Apart from branding “Woman and Child” as propaganda, IIFMA, led by Dubai-based film producer Kaveh Farnam, also takes issue with the female characters in the movie, including the lead actress Parinaz Izadyar, being depicted wearing Iran’s mandatory hijab. This is problematic for the organization, which represents numerous members of Iran’s film industry (with over half residing in Iran), as it goes against the spirit of the “Woman, Life, Freedom” movement that emerged following the death of Mahsa Amini, a 22-year-old Iranian Kurdish woman who passed away in 2022 while in police custody for an allegedly improper headscarf. In their view, this portrayal represents a betrayal of the movement.
Farnam stated to EbMaster that the significant development after ‘Woman, Life, Freedom’ is the growing trend of young women no longer wearing the Islamic hijab. For years, women have been advocating for this change, with some even losing their lives in the process.
Farnam stated that if a filmmaker aims to portray that individuals are adhering to nonsensical regulations set by the government, it’s a distorted representation of our society that contradicts the struggles, particularly those led by women and younger generations.
Essentially, IIFMA argues that Saeed Roustayee compromised his integrity in producing his latest movie by collaborating with the Iranian government. Moreover, the Cannes Film Festival is accused of endorsing this alleged propaganda film by choosing to screen “Woman and Child,” which IIFMA believes serves the interests of the Iranian government.
The Cannes Film Festival had no comment.
Much like many issues concerning Iran, the truth behind this current debate presents a multi-layered and intricate picture.
As a movie enthusiast, I draw a distinct line between the propaganda films produced by the Islamic Republic and those that are made within the boundaries of censorship. This was my point when I extended my congratulations to Roustayee for “Woman and Child” being accepted into Cannes, as stated in response to the criticism from IIFMA.
Rasoulof stated, ‘It’s counterintuitive and contrary to the values of artistic liberty, as well as fundamental human rights, for certain people to attempt to prevent others from joining global celebrations.’
This environment significantly burdens Iranian movie directors, as they can’t create films independently of the official structure or avoid censorship,” he added.
As a movie reviewer, I find myself constantly navigating the delicate balance between two powerful forces. On one hand, there’s the looming presence of censorship, ever-watchful and ready to silence any voice that dares to challenge the status quo. On the other, there are those who view any professional endeavor as a betrayal, a compromise with the powers that be, denying others their freedom to choose their own paths. It’s evident that we, as individuals, possess different talents, strengths, and circumstances. Not everyone is equipped or able to take the risks involved in creating underground cinema. – A reflection shared by filmmaker Jafar Panahi, Rasoulof.
Roustayee communicated to EbMaster about the movie “Woman and Child,” explaining it as a story portraying a woman who bravely confronts all the men she encounters, as well as a system that oppressively takes away her maternal rights.
He stated, ‘It’s surprising to me that certain individuals outside of Iran are alleging that I’ve been working in cahoots with the government.’
Roustayee emphasized, “The film titled ‘Woman and Child’ is self-produced.” He acknowledged that he obtained permission from the Iranian government to create it, but expressed his strong feelings about doing so. He stated, “I was compelled to secure this permit so I could share the story of a woman who has long been whispering in my mind; yearning to be heard.” Read the full statement at the end of this article.
Goodfellas, a French sales company, emphasized in a statement to EbMaster that the movie “Woman and Child,” which they jointly financed with an undisclosed private investor, did not receive any financial backing or assistance from the Iranian government.
During the filming in Iran, the company encountered “production pressures” and found that the Iranian authorities “discouraged the making of the film strongly.
As a passionate movie-goer, I’d put it like this: While Iranian producer Jamal Sadatian is officially credited on the “Woman and Child” project, the filmmakers view him more as a facilitator than a full-fledged producer. You see, Jamal, who was instrumental in producing Roustayee’s 2019 hit “Just 6.5”, primarily secured the necessary permits for our film production within the Iranian system, but he didn’t contribute any financial resources towards the project. Without his help securing those permits, we wouldn’t have been able to bring this movie to life.
Roustayee, similar to Panahi, is recognized as a rebellious film director who creates his works in Iran without official permits. In 2023, he was imprisoned for six months due to screening his movie “Leila’s Brothers” at the 2022 Cannes Film Festival and was initially prohibited from making films. However, after a legal struggle, the conviction and ban were ultimately overturned.
It’s preposterous to suggest that Mr. Roustaee is backed by any regime, according to Goodfellas’ statement,” it noted further. The film “Leila’s Brothers” is often seen as emblematic of the “Woman, Life, Freedom” movement in Iran, and its lead character Taraneh Alidoosti was detained in 2023 for advocating for the movement and posting on Instagram without wearing a hijab.
Muhammad Atebbai, who runs the Tehran-based production company Iranian Independents, stated that he finds little distinction between filmmakers such as Saeed Roustayee, Jafar Panahi, and Mohammad Rasoulof, along with other well-known Iranian directors.
Muhammad Atebbai, who works for the production company Iranian Independents in Tehran, thinks that Saeed Roustayee, Jafar Panahi, and Mohammad Rasoulof, as well as other famous Iranian filmmakers, are very similar to each other.
Atebbai, who’s well-known in the international film festivals, mentioned that he is familiar with their creative approaches and recurring themes. These filmmakers are portraying the local issues faced by the people.
However, one individual might opt to produce an undercover film, while another may strive to obtain a permit to create their movie because they wish to show it to the Iranian public as well,” Attebai highlighted.
Full statements from Saeed Roustayee and Mohammad Rasoulof below:
Saeed Roustayee:
I speak from the heart. The very things we only whisper in private, among close friends.
Now I say them here, to all of you: Woman, Child. Woman and Child.
As a passionate movie enthusiast, I’m proud to say that my fourth film tells a powerful tale. It centers around a resilient woman who fearlessly confronts all the men she encounters and a oppressive patriarchal system that denies her fundamental rights, even the right to be a mother.
As an ardent film lover hailing from Iran, I find myself bound by the cultural norm here – the wearing of the hijab. It’s not a personal choice, but rather a mandate that forms an integral part of our daily lives. Yet, it’s more than just a piece of clothing; it represents a law that suppresses women. However, we’ve learned to fight this oppression from within, striving for the day when freedom will no longer be a distant dream but a lived reality.
Following a series of dormitory demonstrations in 2009, along with the protests in 2017 and 2019, I’ve witnessed an unwavering dedication from fellow filmmakers residing in Iran. In these very same years, they produced some of the most significant works in the annals of Iranian cinema—even earning Oscar nominations for their efforts.
As a passionate movie enthusiast, I’ve found myself at the heart of a storm with my latest creation, “Leila’s Brothers.” Officials have claimed that it foresaw the women’s revolution and sparked the chain reaction that ignited the movement. Consequently, I’ve been called in for questioning numerous times, faced court battles, and stood on the brink of imprisonment. Ultimately, the film was outlawed, leaked clandestinely within Iran, and I was sentenced to prison. My profession has been prohibited, and I’ve been labeled an “enemy” by the state.
In my work, I’ve produced a movie portraying a woman standing up to a patriarchal system. It surprises me that certain individuals from beyond Iran have levied accusations against me, suggesting I’m working in collaboration with the government.
The movie “Woman and Child” was produced with much struggle and hardship, using personal funds and in partnership with a French production company. This film is part of a type of cinema that, under the Raisi administration, was on the brink of disappearing. We made “Woman and Child” to bring back social cinema, which in our context carries strong political implications. Our goal was to depict women and mothers standing resilient against a patriarchal system.
This is an independently produced movie. While securing a permit was necessary, it was the sole concession made. The need for this permit allowed me to share the tale of a woman who had been lingering within my mind, yearning to be expressed and witnessed.
Mohammad Rasoulof:
Absolutely! Upon hearing about Saeed Roustaee’s new film at Cannes, I extended my congratulations to him, but also expressed a wish for all Iranian filmmakers to be able to make their movies freely, without the constraints of censorship or mandatory rules.
In my view, I can easily tell apart the propaganda movies produced by the Islamic Republic from those that must adhere to censorship guidelines.
In defiance of being prohibited from official screenings in Iran, Roustaee’s earlier film, titled “Leila’s Brothers,” found its way into the black market and made a significant stir among the public. This movie portrayed a woman’s struggle against male authority and a father figure who adhered to outdated traditions, putting his family at risk for his ideological self-interest, which some viewers interpreted as a symbol of the leader of the Islamic Republic.
However, since the Mahsa Amini protests of 2022, Iran’s clandestine cinema scene has blossomed impressively, which is fantastic news. Nevertheless, there are growing sentiments among some that no Iranian filmmaker should comply with censorship regulations or enforced hijab requirements.
This is an idealistic and admirable vision — but is it practically achievable?
Despite the societal shifts sparked by the Mahsa movement, strict censorship rules continue to govern Iran’s state-controlled film industry.
*It’s exciting to see some filmmakers working on expanding the hidden cinematic world in Iran. This concept genuinely resonates with me, filling me with happiness and a triumphant feeling.*
Nevertheless, numerous individuals and their dependents continue to depend on the restricted movie industry for their income. They are compelled to maintain their employment in order to make ends meet.
Their participation in these types of films does not mean they support the regime.
A significant number of individuals continue to decline opportunities to create movies that explicitly align with the Islamic Republic’s objectives.
This has been the reality for the past 47 years.
Even under censorship, some filmmakers found ways to bypass restrictions.
Asghar Farhadi is a clear example of someone who has been very successful in this regard.
Indeed, he has worked together with the producer of Saeed Roustaee’s latest movie in the past, as well as with a different producer who had an especially bad standing.
Farhadi successfully produced, showcased his movies in global film festivals, and had them played within and beyond the borders of Iran. Remarkably, he crafted exceptional cinematic pieces.
Of course, it is not ideal for us to submit to censorship, but we must not give up the effort.
The Iranian people need Persian-language films they can watch in cinemas.
We, the Iranian filmmakers, must reclaim the cinemas from the authorities.
The non-violent struggle for freedom is a slow but steady process.
From our perspective, promoting free speech and regarding censorship as a means of control and suppression, it’s essential that we don’t unwittingly contribute to exclusion ourselves.
Let me make it clear one more time: While I stand against the propaganda movies produced by the Islamic Republic, I recognize and appreciate the movies that can effectively convey their narratives despite being subjected to censorship.
You may recall that when Asghar Farhadi’s movie “A Hero” was showcased at the Cannes Festival a few years back, I voiced my disagreement with a statement he made during the press conference. In essence, he expressed the view that an actor’s role is insignificant and that it doesn’t make a difference which kind of film they decide to be part of.
As a cinephile, I’d like to point out that the character in question is played by Amir Jadidi, an actor who has graced our screens before in another film. However, this previous role was not just any ordinary part; it was a piece of pure government propaganda, and I must mention that it was financed and produced in a way that left no room for ambiguity by the security apparatus of the Islamic Republic.
In my opinion, it’s essential to avoid being used as a means to further strengthen an oppressive regime under a dictatorship.
Although Mr. Farhadi’s decision to cast Amir Jadidi in his movie was greatly appreciated, his remark unwittingly signaled approval to some performers – performers who had previously declined to work with the government’s propaganda apparatus.
To sum up, it’s important to note that the world of Iranian cinema encompasses a broad range of talented directors.
It’s contradictory to suppose that certain people could try to prevent others from joining global celebrations, as this action clashes with the tenets of artistic liberty and, in some cases, violates fundamental human rights.
This environment significantly burdens Iranian filmmakers, as they are often limited to working within the established system and under the scrutiny of censorship.
Individuals find themselves sandwiched between two influential factors: on one hand, they face the weight of censorship; while on the other, they grapple with criticism from those who view any form of professional work as a betrayal or collaboration with the regime – depriving others of their freedom to carve out their own paths. It’s evident that individuals possess varying skills, strengths, and situations. Not all can shoulder the risks associated with producing clandestine films.
I strongly back Iranian filmmakers who opt out of censorship, yet I’m unwilling to add to the strain experienced by those compelled to function within the bounds of censored systems, regardless of the reasons.
From my perspective, they themselves are victims of censorship.
I would rather direct my struggle toward those who impose it.
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2025-05-05 16:19