Hasan Hadi, Director of ‘The President’s Cake,’ on the Journey of Making Iraq’s First Film at Cannes

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The Iraqi filmmaker Hasan Hadi‘s initial work, titled “The President’s Cake,” making its premiere in Directors’ Fortnight, marks the first time an Iraqi film is being shown at Cannes. The movie, set in 1990s Iraq, is noteworthy as it fills a void in cinematic representation, as this era of Iraq has largely remained untold on screen.

The President’s Cake” portrays a challenging period in Iraq when food scarcity was prevalent due to U.S. sanctions. The movie narrates the story of a 9-year-old girl named Lamia, who is chosen at school to bake Saddam Hussein’s birthday cake. To secure the essential ingredients amidst scarcity or face repercussions, she must display great resourcefulness. The director, who experienced childhood in southern Iraq during wartime and later moved to the U.S. where he is currently an adjunct professor at NYU’s Graduate Film Program, shared his remarkable achievement with EbMaster.

It’s quite unusual to come across a movie from Iraq, more so one that focuses on this particular era and the effects of U.S. sanctions. What sparked the idea for the story?

This narrative originates deeply from my recollections of my childhood years spent in Iraq. One day, I found myself selected amidst these random draws, although my role was more ceremonial as a flower boy, and the responsibilities were less intense. However, some of my friends were chosen for an entirely different purpose – to bake the president’s cake. The repercussions of this draw significantly altered their lives. In essence, it was a peculiar blend of tragedy and humor, much like a dark comedy.

The tale seemed inescapable from my mind – it is both a personal memory of growing up in Iraq and a shared recollection among my fellow countrymen. I found it astonishing that there was no film based on this story, so during my final year at NYU, I penned the script for what would become a vivid depiction of those events.

What are your cinematic influences and in particular what are they for this film?

I didn’t get to experience movie theaters as a child, unfortunately. If only I could say, “I went to the cinema and watched a film.” That was something I couldn’t do. Instead, our entertainment at home came in the form of VHS tapes, which we sometimes had to secretly bring into the house, followed by DVDs later on. However, my fascination with films took root on a humble television screen, where I would watch alone during the quiet hours of the night when everyone else was asleep.

That being said, some have drawn comparisons between this film and the works of Abbas Kiarostami, and others have mentioned a resemblance to Vittorio De Sica’s “Bicycle Thieves.” I acknowledge these similarities, but I never intentionally sought to imitate them in my work.

What wree the challenges of shooting in Iraq?

As a devoted cinephile, for me, it was pivotal to portray my film authentically. Many suggested funding our project under the condition that we shoot outside Iraq. However, I firmly refused. My intention behind shooting in Iraq was to expose its true beauty and complexity, a perspective seldom seen before. I believe this could be a refreshing take on Iraq, presenting it through an unconventional lens. Frankly, I don’t think people anticipate Iraq to look like this or possess such visual aesthetics. Needless to say, the task was daunting. We lack a robust film industry, a skilled cinematic crew, and the work ethic that has been cultivated in countries like the U.S. and Europe. Yet, we were granted unique access. Locations that would typically cost thousands of dollars to shoot in other countries, we could easily access here. I was fortunate enough to film near Ziggurat Ur, the world’s oldest building at 7,000 years old, and in the marshes, as well as a restaurant once frequented by Saddam Hussein during his youth.

Do you agree with the prediction that the Iraqi film market will see significant expansion due to a long-standing desire for cinema experiences among its population? I’d be interested in hearing your thoughts on this topic.

Indeed, you’re correct. Our cinematic landscape is primarily focused on commercial cinema at the moment, as opposed to delving deeply into art-house films. However, I prefer not to use the term ‘art-house,’ as I believe it carries a connotation of inferiority. Instead, let’s refer to these films as those produced in the 70s, 80s, or even the 60s – whatever era resonates with you. These movies require a genuine passion and curiosity to seek them out, as they may not be easily accessible in our current cinematic landscape. We’re not quite like New York, where there are dedicated theaters for independent cinema or foreign films. But I am optimistic that this will shift over time, as we become more receptive to a wider variety of films. I believe that in the near future, or perhaps even decades, our audience will grow tired of commercial cinema and crave more authentic and original storytelling.

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2025-05-15 07:19