The global spotlight shines on director Nader Saeivar’s new film, ‘Hijamat,’ as it makes its highly anticipated world premiere at the 60th Karlovy Vary International Film Festival. This moment, though monumental for Saeivar, is undeniably bittersweet due to the glaring absence of his longtime friend and collaborator, the legendary Jafar Panahi. Panahi, who produced and edited ‘Hijamat,’ remains unable to leave Iran, a grim testament to the ongoing struggles for artistic freedom in the region. This film is ‘highkey’ a significant moment for Iranian cinema, pushing boundaries both thematically and in its creation from exile.
Jafar Panahi’s plight is, straight up, a heavy backdrop to this premiere. Recently, Iranian authorities confiscated his passport, and he faces further prison time for ‘propaganda against the regime.’ Panahi’s story isn’t new; he’s been a global symbol of artistic defiance for years, famously making films under house arrest or with severe restrictions, like the critically acclaimed ‘This Is Not a Film’ and ‘Taxi.’ His courage in the face of immense pressure has consistently highlighted the steep cost some filmmakers pay for expressing truth, making his inability to attend KVIFF a poignant statement in itself.
‘Hijamat’ delves deep into a family drama, set against the vibrant Turkish community in Berlin. Kida Khodr Ramadan stars as Murad, wrestling with profound secrets to protect his younger brother, Kerem, after discovering he is gay. The film’s title, ‘Hijamat,’ refers to the ancient practice of wet cupping, a therapeutic method used to draw out ‘dirty blood’ for detoxification. Saeivar masterfully employs this concept as a powerful metaphor for purging deeply entrenched, often harmful societal and personal beliefs that threaten to tear families and individuals apart.
Saeivar’s personal journey profoundly informs the film’s narrative. His move from Iran to Berlin, after half a century, triggered a massive paradigm shift, compelling him to shed ‘wrong and rigid beliefs’ he’d held for decades. This intensely personal transformation, where old convictions crumbled ‘within one night,’ directly fueled the film’s introspective approach. He realized the futility of external activism without first tackling the internal ‘walls’ people build around themselves, a realization that hits different when you’ve lived it.
What’s truly remarkable is how ‘Hijamat’ elevates its specific context to universal themes. Saeivar posits that while the ‘walls’ in the East might be primarily built by religious dogma, those in the West are often constructed from an idealized, sometimes suffocating, memory of a glorious past. He argues that both scenarios create a burden, preventing individuals from achieving true freedom until these loads are shed. It’s a dope insight into the human condition, suggesting everyone, regardless of geography, needs their own metaphorical ‘hijamat’ to cleanse their mindsets.
The choice of Kida Khodr Ramadan for the lead role of Murad was a strategic stroke of genius. Ramadan is well-known and highly respected within Germany’s Arab and Turkish communities, effectively serving as a ‘mayor’ figure, as Saeivar puts it, to connect with the audience. His performance was so compelling that even Jafar Panahi himself, upon reviewing the edits, was ‘amazed’ by Ramadan’s skill and charisma, drawing comparisons to French actor Jean Reno, a legit compliment in the film world.
Despite the distance and the formidable legal battles, the bond between Saeivar and Panahi remains unbroken. They converse daily for at least an hour, with Panahi sharing his struggles with the judiciary and finding solace in their creative kinship. This ongoing dialogue underscores a profound mentorship and friendship, proving that even across borders and through oppression, the spirit of collaboration and mutual support between true artists can never be fully silenced. Panahi’s continued presence, albeit virtually, in Saeivar’s creative process is a testament to their enduring connection.If you enjoyed this article, share it with your friends or leave us a comment!
Livia Dorne covers film, television, music, and pop culture with a keen editorial perspective. She delivers engaging commentary, reviews, and behind-the-scenes insights that keep readers connected to the entertainment world. Her style blends critique with storytelling.
