From Unconscious Passion to Defiant Filmmaking: Navid Nikkhah Azad's Journey and Inspiration
In a bold act of defiance against the oppressive Iranian regime, acclaimed filmmaker Navid Nikkhah Azad has risked his life to bring the powerful political drama NO END to the screen. This gripping film delves into the heart of Iran's socio-political unrest, shining a light on government coercion and the relentless fight for freedom. Join us as we explore Azad's inspiring journey, the themes that drive his storytelling, and the profound impact of his latest work.
Can you tell us about your journey into filmmaking and what inspired you to become a director?
In the beginning, my passion for cinema developed completely unconsciously. My father is a well-known producer in the Iranian children's and youth cinema, and in the most basic sense, I wanted to identify with him. I can say this now, after thirty years have passed since I made my first short film at the age of twelve.
Professionally, I started in cinema with film editing. I had the opportunity to work as a film editor under my father's supervision on four feature films, and this was the best university for me. Not only did I learn the aesthetics of film editing, but by observing my father and through practical experience, I also learned the technical principles of directing and coaching actors.
Of course, editing was not my final destination, and I turned to filmmaking. What was very attractive to me in directing was the creation of a different world within the framework of a film, achieving a personal expression, and looking at a subject from a perspective different from that of any other person in the whole world.
How did your personal experiences influence the themes and stories you choose to tell in your films?
For me, personal experiences in society, whether this society is a small family or the larger external community, shape my perspective and concerns as a filmmaker. This makes the events that happen around a filmmaker in society, and the relationship a filmmaker has with these issues and the perspective from which they view these issues, manifest in their films and their mode of expression.
For example, in Iranian society, where the government is totalitarian and oppressive, the theme of oppression and being oppressed, which affects all the inhabitants of a society, has appeared in my latest two films.
For instance, the short film "The Recess" that I made in 2020 is about the severe restrictions on women and their exclusion from stadiums — a place made masculine by the government; it comes from a real story and from within society. Or in my latest film "No End," it deals with the "Woman, Life, Freedom" movement, the brutal crackdown of the protests and protesters by the government, the filmmaker's connection with the oppressor and standing up to the oppressor, the role of the media, and our connection with the ongoing reality in society.
What challenges have you faced as an Iranian filmmaker working under censorship and political pressures?
In a society where there is no freedom of speech and the government tries to silence the voices of thinkers, writers, artists, filmmakers, speaking about "freedom," "women's rights," and "human rights" is itself a major challenge.
I had to convey my message indirectly in my films or hide the film's message within layers of the film; speaking directly can have serious consequences and repercussions. In "The Recess," which was based on the tragic story of Sahar Khodayari's self-immolation (known as Blue Girl in Iran), I couldn't follow the main character to the football stadium or depict her arrest, or even her self-immolation in front of the Revolutionary Court of Tehran, as in the real story. I was forced to self-censor myself, and thus portray the story of a girl who escapes from school with the help of her friends during a "recess" to watch a football match at a public stadium, and I included the real tragic events and the story of Sahar Khodayari in the form of writings at the end of the film.
Another challenge was the news coverage of "The Recess"'s success in festivals. I was boycotted by a significant portion of news media in Iran, manipulated, mentally harassed, and many of my festival selections were not covered. Thus, censorship happened in a different way here, and these media outlets, their journalists, and media publicists acted as censors and executed the same exclusion policy of the Islamic Republic.
One of the things that political pressures in Iran brought for me as a filmmaker was that my film was not shown in Iran (if it had been shown, it would have posed a serious danger for me). My connection with the audience inside Iran was severed. I had made that film for Iranian girls and women, and as long as I was in Iran, I could not release the film in any way.
In my last film, “No End,” three years after making “The Recess,” and a year after "Woman, Life, Freedom," I decided not to give in to fear, not to speak indirectly anymore, not to self-censor, and to make this film regardless of any danger it posed to me, even if it meant I would have to leave my homeland permanently.
"NO END" has been described as a black comedy that critiques Iranian censorship. Can you share more about the inspiration and message behind this film?
The theme of censorship has been one of the most important issues I have grappled with over the past three years. During the festival selections of "The Recess," I was directly a victim of censorship and exclusion policies, especially in connection with film journalists and Iranian media. Therefore, "censorship" is one of the main motifs not only in my life but also in the lives of a significant percentage of people inside Iran. The fear and terror in Iran's political climate, and especially the protests, have led people to consciously resort to "self-censorship"; they choose self-censorship to protect themselves from danger.
Of course, the theme of censorship has a vast scope for me. For example, the mandatory hijab in Iran is itself a form of censorship; by enforcing it, you are censoring or eliminating hair (a symbol of femininity). I consider the killing of Mahsa Amini for not adhering to the dress code in Iran an "elimination," which I view as a significant example of censorship. Even regarding news media in Iran, it must be said that they extensively censor the news and present a manipulated version as reality to the public. This is also the policy of Iranian television. They change the meaning and content of films through dubbing. Therefore, censorship was a very important theme that I addressed in "No End."
Before the initial idea for "No End" took shape in my mind, I was interested in making two other stories. One of these stories was about "forced confessions" or "televised confessions." I wanted to show how the family of one of the victims of the "Woman, Life, Freedom" movement, namely Nika Shakarami, is subjected to psychological torture and how a forced confession is recorded from them at one of the Ministry of Intelligence's locations. Because that subject was very radical, and to make it, I would have had to be as radical as the Islamic Republic, I abandoned that story. However, when I came to the story of "No End," about a filmmaker whose film is confiscated by security forces, I incorporated the story about "forced confessions" as the backstory of the director character and highlighted it throughout the film, focusing on the hypothetical film made by the main character, Gholamali Darbari.
"No End" is a very personal film, and I consider it a full-fledged protest against the oppressor and the dictator. A protest that is expressed in my own way, with my perspective, and by my means, in the form of a political black comedy.
How did you cast “NO END”?
Casting actors for "No End" was challenging. Because the film's subject matter was politically sensitive, and the dialogues and expressions in the film were bold, and in some scenes, I did not want the female actor to wear the mandatory hijab, finding actors for the film was quite challenging. On my own Instagram page and that of one of the film's producers, we posted a casting call in our stories. I also offered the roles to female actors I knew personally. However, due to fear of persecution, political climate and the issue of not adhering to the mandatory hijab, no female actor was willing to collaborate on the film. By hiring an assistant director, they also introduced several theater actors for the roles, but due to fear and the intimidating atmosphere surrounding the mandatory hijab, they were not willing to collaborate either.
The female actor in the film was someone whose wild and beautiful face I had admired for several years and had wanted to work with, even though I had not seen her act. She read the script, liked it, and agreed to act in the film. Regarding the main male actor, Sadegh Molaei, I should say that he is a good theater and television actor whom I knew from the past. I arranged a meeting with him, we had coffee together, and I decided to work with him. I did not take acting tests from either of these two actors; just by seeing them, I was confident that they were the main actors for the film and that they would perform brilliantly.
Can you elaborate on the themes and messages you aimed to convey through "NO END"?
Freedom of expression, protest, censorship, exclusion, forced confessions (recanting beliefs under psychological and physical torture by the Islamic Republic operatives), dictatorship, repression, standing up against the dictator, narcissism, and the passivity in Iranian society are among the themes I addressed in "No End."
In terms of form and structure, the entire film is a selfie, meaning the whole movie is filmed by Gholamali Darbari's camera, either as a selfie by him, by his assistant "Pari," or as a fixed camera set up somewhere. When the camera is on, the shot is continuous and uncut, symbolizing "not censoring," even if this lack of censorship works against him. However, throughout the film, "censorship" is referenced as a recurring motif in the dialogues. For example, in various scenes, the director character tells Pari, "I'll cut these scenes in the editing," with editing symbolizing censorship.
The camera in the film has three functions. First, it symbolizes journalism and the preservation of truth, documenting the events. Its second purpose is to represent the "surveillance of the government," reflecting the behavior of the Islamic Republic towards its citizens. For example, Pari mentions that the presence of the camera makes her feel watched, like the hidden cameras installed around the city to drag anyone not wearing a hijab to court. The third function is that when we knowingly film ourselves, our behavior changes, and we try to appear better and braver in front of the camera. For instance, in a couple of scenes, the director character calls Pari out of the frame to scold her for what she says in front of the camera. He says, " What was that?! I'm here, talking all brave and fearless, then you expose me on camera and say, 'I don't buy it.' Shame on you." Pari also asks the director to give her a chance to speak in front of the camera, referencing the culture of "pretense" and "manipulation."
The character of the director, Gholamali Darbari, is a director whose office has been raided, and his film confiscated. The film begins with the idea of "protesting" and standing up against the dictator and dictatorship. In the very first scene, when Pari pulls her scarf over her head upon hearing the name "Iran International," it indicates the atmosphere of fear and terror in Iran's political climate. The film questions those who hide behind passivity and even consider their own gain and loss when protesting. However, the film encourages even these individuals to rise and stand against dictatorship in any way they can, and not be mere bystanders.
In "No End," I deliberately placed the director character and his assistant Pari against each other. The director displays narcissistic, oppressive, and exploitative behavior towards Pari. Pari, on the other hand, is passive and, despite knowing the director is exploiting her (with a reference to sexual exploitation), allows this exploitation to happen and remains silent, enduring the director's narcissistic behavior, perhaps hoping to climb the ladder of his fame. Both behaviors reflect a parasitic existence seen in Iranian society. Metaphorically, I have placed an oppressor and the oppressed against each other, symbolizing the relationship between the people and the government in Iran, depicted through critical dark comedy.
In the scene where Pari runs to the yard and fearlessly chants slogans, and Gholamali Darbari breaks out of his narcissistic shell and shouts against the leader and dictatorship, it shows the characters' desire for change and their wish to break free from passivity and self-interest. In the final scene of the film, we see that both characters behave entirely differently, which is evident in their appearance and dialogues.
"NO END" is a black comedy. How did you balance humour with the serious critique of Iranian censorship?
With the revolutionary uprising of "Woman, Life, Freedom" and the brutal crackdown of protesters by the Islamic Republic, we were very angry. Since Mahsa Amini was killed while she was in police custody, I had thought of various stories to make films based on them. But I realized I was very angry, and if I made a film, it would be very furious, and I would also become radicalized by this intensity of anger. Therefore, I set the film as a black comedy, and by using absurdism (which I am very fond of, especially in the works of Samuel Beckett), I tried to challenge the harsh criticism of the Iranian government, its leader, and their main theme "censorship" and “dictatorship” within the framework of a black comedy through absurdism. Our film reflects society without the rage and anger and sharply critiques censorship.
What were some of the challenges you faced while making "NO END"?
One of the fears was that we were working in a closed environment, and if our filming and the subjects we were addressing were leaked or discovered, all crew members would be in serious danger. Although I tried to create a friendly atmosphere on set to alleviate this fear that everyone had, sometimes this fear would also overwhelm me. For example, at midnight or near dawn when filming was finished and I was transferring the dailies to the computer, I had to lock the doors and sleep next to the filming equipment to ensure nothing would happen.
One incident was that before we started filming, I fired my assistant director, who, out of spite, took the production manager and artistic director with him. Therefore, I proceeded with filming without an assistant director or an art director, and every day one of the producers would bring someone to handle services (catering, tea, dinner...). This made my job harder, and I had to have more rigorous and comprehensive supervision over production and art direction. I'm glad that with the cooperation of the actors, the cinematographer, and the behind-the-scenes cameraman, this gap was less felt.
On the last day of filming, the lead actor experienced severe anxiety, which I think was due to the external and political pressures, and he felt immense pressure. Since it was a long shot and the final scene of the film, the lead actor needed to reach a state of mental calm to ensure it didn't affect the outcome. For the final scene of the film, my therapist, who is a powerful psychologist, was present on set. After the lead actor experienced severe anxiety, the therapist spoke privately with him, allowing him to return to the scene, and we were able to film the final scene satisfactorily.
How did the political climate in Iran influence the narrative and production of "NO END"?
The political atmosphere surrounding Mahsa Jina Amini and "Woman, Life, Freedom" directly influenced the screenplay and story of "No End." In the film, I had no respect for the censorship imposed by the Islamic Republic and deliberately wanted to speak openly about these red lines. I adopted a somewhat journalistic approach in the film; for example, in one scene, the character Pari reads real news headlines from BBC Persian's Instagram page, referencing actual events. Even the scene where the character Gholamali Darbari is interrogated over the phone by a reporter from the official Islamic Republic news agency (IRNA) reflects the oppressive atmosphere of Iran's tumultuous political climate, especially after the "Woman, Life, Freedom" uprising and the widespread protests all over the country.
During the days I was looking for a female actor for the film, the brutal beating of the morality police with seventeen-year-old Armita Geravand in the metro (because she was not wearing mandatory hijab) occurred, leading to her falling into a brain coma and eventually losing her life. As I frequently changed many dialogues on set, I referenced the Armita Geravand incident in the final scene of the film. At that time, the Islamic Republic had not yet announced her death, but the "Tavaana" Instagram account had confirmed her brain death. When I read this news, I mentioned the tragic incident in the film's final scene. The film is filled with such references.
Can you discuss any specific scenes in "NO END" that you found particularly impactful or difficult to shoot?
All five scenes in the film were difficult and challenging. One of the reasons was that the camera did not cut in these scenes. For instance, in one of the scenes where Gholamali Darbari is sitting at a desk and having a dialogue with Pari, they take turns exiting and entering the scene. This scene was 13 minutes long, and the actors had to memorize these dialogues and perform their roles flawlessly without mistakes.
In another scene, Gholamali Darbari is talking on the phone with a journalist from the Islamic Republic's media (IRNA), while Pari is holding a cat. The cat, which was my own cat to which I have a strong emotional bond, had to stay in the scene for the entire 13-minute duration. These scenes were difficult both in terms of the actors' performances and the handheld cinematography. I think we shot this scene nearly 60 times before finally getting an acceptable take.
The film was very demanding for the actors, and the smooth performances are owed to the close relationship we had, the safe environment I built for the actors and the few lengthy rehearsal sessions we did a week before shooting.
What was the reaction to "NO END" within Iran and in the international community?
"No End" holds world premiere status for film festivals, and it has not yet been screened at any international festival. We absolutely cannot screen the film inside Iran or release it online because it could be highly dangerous for the actors and crew, potentially leading to interrogation, imprisonment, and other consequences.
Given the sensitive nature of "NO END," how did you ensure the safety of your cast and crew?
I printed a limited number of copies of the film's script, perhaps three or four, and gave them only to a select few crew members to prevent it from being leaked. I wrote the script based on the location of a specific office (a safe place), and we felt secure working there. I also tried to ensure that the film had a small crew and that the behind-the-scenes environment was not crowded. Besides one behind-the-scenes cameraman, no one was allowed to film behind the scenes or the actors' rehearsals, and that footage was taken by the behind-the-scenes cameraman every day. If our shooting took more than a few days, it would have posed a risk to the crew's safety, especially since the entire film was shot in one location with no means of escape.
I completely removed one of the important scenes in the script where the characters were supposed to sing and dance to Shervin Hajipour's song "Baraye" on the rooftop (somehow merged it in another scene), because I was afraid a neighbor might report it and security forces could raid the place; this was a risk I couldn't take. In directing, I resorted to long takes, and the film consists of five long scenes. We managed to complete the film in three nights of shooting (from night until dawn). I also took responsibility for backing up the film's dailies and transferring them to the computer. After backing them up, I formatted the hard drives.
I completed the final stages of the film, including translation, subtitling, and the final export with the sound mix that the sound editor (I crossed out their name in the closing credits) had emailed me, after applying for asylum in the Netherlands. When I was preparing to register the film on IMDb and create the film's social media pages and website, I spoke with the crew and offered to remove their names from the film's credits and not tag them on social media if they wished. Some crew members preferred not to have their names in the credits due to fear; initially, two actors requested to have their names removed from the credits but later asked me to add their names back.
We have agreed that this film will never be released online or made accessible to the public. I, as the director, prioritize the safety of my crew, especially my actors, and I am cautious about the photos of the actors that are published to ensure no issues arise for them.
How has "NO END" been received at film festivals and by audiences outside of Iran?
As I mentioned earlier, the film has not yet been screened at any festival. However, RFG Magazine, an organization for refugees with a journalistic background, of which I am also a member, has organized a special screening (local premiere) for the film. Members of this organization and several Dutch journalists will attend the screening on Sunday, June 2nd. This will be the first screening where I can gauge the audience's reaction to the film.
What do you hope viewers take away from "NO END"?
I consider "No End" to be an absurdist post-modern black comedy. I hope the audience does not limit themselves to the apparent story and can see, identify with, and uncover the symbolism and thematic motifs that run throughout the film.
What’s next?
Currently, as a filmmaker who has been living for months in an asylum camp in the Netherlands waiting for my asylum interview, I cannot envision my future, especially since I am not in a stable situation myself; and I don't even know if the conditions will ever arise again for me to make another film. However, as always, my mind is engaged with stories. Before a story becomes a final candidate for me, I know I go through many stories. But I hope that once I find stability in the Netherlands, a significant story will choose me as its director so that I can bring it to the screen. My guess is that in the Netherlands, I will turn to independent cinema more than ever before. I need to keep this fire (my passion for filmmaking) burning to keep my spirit warm.
You can follow Navid Nikkhah Azad on the following platforms:
https://www.instagram.com/navdazad
