“I Speak to Him Every Day”: Nader Saeivar on ‘Hijamat’ and Premiering It Without Jafar Panahi
The Iranian auteur discusses the Karlovy Vary-debuting Berlin-set drama, his calls with his friend — who edited and produced the film but can't leave Iran — and why "everybody needs" the ancient pract
The Iranian auteur discusses the Karlovy Vary-debuting Berlin-set drama, his calls with his friend — who edited and produced the film but can't leave
Read Full Story at Hollywood Reporter →Why This Matters
The film's premiere at Karlovy Vary without Jafar Panahi's direct involvement underscores the resilience of Iranian cinema under censorship, highlighting how creative networks adapt to political constraints. Nader Saeivar's insistence on the universal necessity of 'hijamat'—an ancient healing practice—frames the work as both a cultural artifact and a defiant act of artistic survival.
Background Context
Iran's film industry has long operated under tight state control, with figures like Panahi barred from leaving the country since 2022. 'Hijamat' emerges amid a broader exodus of Iranian filmmakers and artists, where collaboration across borders has become a lifeline for creative expression.
What Happens Next
If 'Hijamat' gains traction internationally, it could further pressure Iran's cultural isolation policies while reinforcing diaspora-led cinema as a viable alternative. The film's reception may also test the limits of co-productions between European festivals and Iranian filmmakers still trapped at home.
Bigger Picture
This moment reflects a growing trend of filmmakers leveraging digital exchanges to bypass state censorship, a strategy that challenges traditional notions of authorship and collaboration. It also signals how ancient traditions, when recontextualized through modern cinema, can become tools of soft resistance.
