In recent days, the director of the film "Leila's Brothers," Saeed Roustaee, and the film's producer, Javad Noruzbegi, faced opposition from the Iranian government on charges of opposing the state. The government's lack of approval for the societal criticisms presented in the film once again highlighted the impact of cinema.
According to The Associated Press (AP), it was reported that at the Cannes Film Festival that they would be sentenced to imprisonment and banned from filmmaking due to showcasing a film without government approval, facing direct criticism from prominent American director Martin Scorsese and others on an international level.
The Iranian court announced that the prison sentences, except for around 10 days, would be suspended for the next five years. However, during this period, the convicts will be prohibited from engaging in filmmaking and communicating with individuals in the field. Additionally, they will be required to attend mandatory cinema courses with consideration for "national and spiritual interests." The sentence can be appealed.
The award-winning work "Leila's Brothers" by Iranian director Roustaee provides a unique perspective on the intricate world of traditions and family bonds. It is a highly allegorical film: The family in the film is not only a family but also a structure symbolizing the entire Middle East. While watching the film, there might even be moments where you feel frustrated and intolerant. However, I can also say that the film not only possesses a universal quality but also contains elements from the cultural structure of the southeast Anatolian region of Türkiye, on our behalf. In general, the film conveys to the audience the painful drama that can arise from the imposition of traditional structures and family ties.
The character of the 80-year-old father, Ismail, reflects the effort to gain the respect he cannot find from his surroundings as the head of his family within a society that has turned its traditions into a way of life. Throughout the film, Ismail's internal conflicts, his relations with other family members and the critical reflection of family values and societal expectations come to the forefront. The film illustrates, through the figure of the father, how our primitive and unsatisfied instincts – titles, fame, status, etc. – combined with a distorted consciousness can lead a person to behave irrationally.
The father character acts with a desire to appear strong outside by disregarding the needs of the children at home. At the same time, he wants to spend the 40 gold coins he has secretly saved from his children in order to appear respectable as a tribal leader. This situation, along with his refusal to support his four unemployed sons despite their need for capital to open a shop, and his persistent demanding attitude and imposition of pressure on his children, leads to the impression in the film that he metaphorically represents the state they live in.
The character Leila, along with her four brothers, struggles to shoulder the burden of her family both economically and psychologically, striving to keep the family afloat and free them from poverty. Leila's persona embodies the family's resilient and strong spirit. Despite economic hardships and societal pressures, Leila's determination and resolve reflect the strong and independent side of Iranian women.
Alireza's unemployment due to the closure of the factory where he worked highlights the economic difficulties faced by the younger generation. Alireza, considered to be the stable member of the family, realizes the need for his family to strive for a better future after losing his job at the factory, and consequently, he takes up the fight.
The eldest brother, Parviz, makes a living by cleaning toilets in a luxurious Tehran shopping mall. Farhad takes pride solely in his car and shows interest in American sports, while Manouchehr is one of the brothers trapped in debt.
The unemployment and future anxieties of the four brothers carry a symbolic meaning representing the challenges faced by Iranian youth. As the brothers choose different paths in life and struggle to stand their ground, the internal conflicts they experience depict the tension between societal expectations and individual desires.
"Leila's Brothers" stands out not only with its narrative but also with its visual and thematic depth. Roustaee's directorial skill takes the film beyond the conflicts within the family, delving into the challenges posed by international sanctions and societal pressures. While watching, it is quite possible to be reminded of Asghar Farhadi's cinematography. Even though the cast might not be the exact same, the actors in Iranian cinema can evoke a similar effect, and it is worth noting that their performances are very professionally executed. Moreover, while watching the film, we can empathize with Iranian society. The main theme of the film, which explores the impact of feudalism and the economy on human relationships, showcases how a father figure can disregard his own children for feudal power, turning his back on them for the sake of power.
Furthermore, the film subtly critiques capitalism and patriarchal order, often in the context of American propaganda. The concept of American propaganda is particularly evident through references to former U.S. president Donald Trump. In the jewelry shop scene, the rise in the price of gold after Trump's tweet and the inclusion of American details about the tweet serves as a clear reference. The impactful moment in this scene is when the father, Ismail, asks his son, "Is he tweeting or making a bomb?" and Ali Riza responds, "No, but even if he were dropping a bomb, it shouldn't be like this." This dialogue openly presents a critical, oppositional perspective toward American policies. While American flags might have subtly appeared in films before, now more explicit images and scenes depicting American influence are present.
