As a seasoned movie buff with years of experience under my belt, I must say that the story of Ali Asgari and his documentary “Higher Than Acidic Clouds” is nothing short of inspiring. The Iranian director’s resilience in the face of adversity, as he grapples with government restrictions and personal introspection, is a testament to the power of cinema and the human spirit.
Following the debut of “Terrestrial Verses” at Cannes in 2023, I, movie reviewer, found myself back in Tehran, only to learn that Iranian director Ali Asgari was barred from traveling for eight months and had his possessions confiscated by government authorities for weeks. This tumultuous period of uncertainty and self-reflection led to the creation of “Higher Than Acidic Clouds,” premiering in the Envision Competition at this year’s International Documentary Film Festival Amsterdam, offering a glimpse into Asgari’s personal journey amidst political upheaval.
The autobiographical essay, filmed over nine days in Tehran, provides a close-up view of Asgari as he confronts memories long hidden, stirred by a forced separation from the world. He ponders his past experiences living in Italy and engages in open discussions with his family about these matters.
It’s worth noting that in recent times, several Iranian filmmakers have been prevented by their nation’s rigid government from departing the country for premieres of their films at festivals. For instance, Maryam Moghaddam and Behtash Sanaeeh were unable to attend the Berlinale premiere of “My Favourite Cake”, while Mohammad Rasoulof’s cast was barred from his Cannes competition entry “The Seed of the Sacred Fig”. Remarkably, even Rasoulof himself had to escape Iran in order to attend the French festival.
Asgari shares with EbMaster upon returning to Iran from Cannes, he had no choice but to request a neighbor’s phone to call his mother. He didn’t anticipate his belongings would be returned promptly, so he didn’t purchase a new phone. Consequently, he was disconnected from the outside world for an entire month at home. This solitude stirred thoughts about his life, childhood, family, and relationship with his city.
According to Asgari, his film serves to amplify his creativity rather than portray himself as a victim. He emphasizes that he does not wish to be defined by the struggles faced within his nation, but instead, he sees himself as an individual with a vivid imagination capable of transcending boundaries. Through his writing, he explores and reflects upon the captivating aspects of his life, questioning whether he is a victim in this context. His response is a firm “no.
Although “Higher Than Acidic Clouds” is Asgari’s debut feature-length documentary, the filmmaker expresses fascination with how cinema can blur the lines between truth and illusion. The movie, filmed in stunning black and white, seems to exist in a dreamlike state, as the titular clouds are depicted hovering outside the windows of a fictional residence attributed to the director. To achieve the cloud’s appearance, Asgari collaborated closely with a visual effects team.
As a cinephile, I relish the art of manipulating the cinematic medium. When crafting a narrative film, my aim is to infuse it with a sense of realism, and when working on documentaries, I strive to breathe life into them as if they were fictional tales. Tinkering with cinema offers an intriguing exploration, and being influenced by the Iranian school of filmmaking, where visionaries like Jafar Panahi blur the lines between fiction and documentary, only adds to this captivating endeavor.
He notes that the concept of what constitutes a documentary is evolving. Previously, he had pondered whether a film could be considered a documentary if multiple people were involved in its production, or if considerations for cameras and editing were factored in. While these elements involve manipulation of reality, they do not negate the authenticity of the end product.
Discussing the challenges encountered by Iranian filmmakers, Asgari aims to bring attention to the struggle of securing financing within the country. He explains that the issue lies in the fact that “Iran is geographically positioned in such a way that we are often overlooked or undervalued.
He clarifies that we don’t fit the criteria for Asian or Middle Eastern investment funds because we’re not an Arab country, but rather Iranian. He goes on to say that we don’t belong to any other categorization such as European, Mediterranean, or Balkan. Essentially, we’re stuck in a funding limbo as there are no available resources for Iranian projects. In most cases, we resort to seeking private investors or using our own funds for film production, fully aware of the challenges involved in recouping that investment.
In my perspective, the intense competition for funds and grants in Europe’s cinematic landscape, as observed by Milad Khosravi, producer at Seven Springs Pictures, pushes our national cinema towards a path where compromising on quality might seem like the sole viable option.
As a passionate film enthusiast, I’ve always admired the exceptional quality that Iranian cinema brings to the table. However, maintaining this level of excellence isn’t an easy feat. The production process lacks financial backing, and distribution faces challenges due to our country’s governmental and political complexities. It’s hard to believe that a filmmaker like Ali, with 14 shorts under his belt, four feature films, and invitations to some of the most prestigious film festivals globally, still grapples with financing his cinematic endeavors.
Regarding filmmaking in today’s political climate of Iran, Khosravi expresses that it has always been challenging for Iranian artists – from writers and poets to painters and now filmmakers. He emphasizes that the crucial aspect now is for us to figure out how to cope with this pressure.
The producer explains, “Ali and I haven’t ventured abroad like many other filmmakers do, because we’re concerned about losing all the lights.” He continues, “You see, there are numerous stunning and successful films produced outside our country, but we don’t consider them as Iranian films. For us, an Iranian movie captures the essence of Iran – its streets, its people, and its unique accent.
The producer finishes by stating that while filmmakers strive to be bold and innovative, they recognize the importance of honoring the pioneers who came before them, such as Abbas Kiarostami, Jafar Panahi, and Asghar Farhadi. They express a desire to preserve their legacy rather than resorting to self-victimization in order to secure funding for their own films.
In the typical assumption within the industry that Middle Eastern filmmakers function as advocates when showcasing their work, Asgari states that he is frequently questioned, especially by Westerners, to openly criticize the Iranian government, adopt an activist stance, and wave protest signs wherever he goes.
At times, it can be frustrating, to put it frankly, as when I attend festivals, the conversations about my movies often evolve into discussions on the political climate in Iran and the Middle East,” he admits with a sigh. “I’m not saying I don’t want to discuss it, because I certainly do, but at times, I’m unsure of what to say. Couldn’t we just let me focus on making my films?
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2024-11-18 00:17