Iranian filmmaker Ali Asgari has consistently shed light on the intricate layers of social and bureaucratic challenges in Iran, often weaving satire into his narratives. His latest work, “Divine Comedy,” which recently competed at the Doha Film Festival after premiering in Venice, takes a comedic yet poignant look at these themes. Asgari’s use of satire to navigate censorship and absurdity showcases the power of humor in challenging the status quo.
The Story Behind “Divine Comedy”
“Divine Comedy” centers on Bahram, played by director Bahman Ark, a filmmaker whose Turkish-Azeri-language works have never been shown in Iran. When his latest film faces rejection from cultural authorities, he collaborates with producer Sadaf (Sadaf Asgari) to arrange a clandestine screening in Tehran. This act of rebellion spirals into a darkly humorous exploration of censorship, red tape, and the determination to create art despite constraints.
The film is an international collaboration involving countries such as Iran, Italy, France, Germany, and Turkey, with Goodfellas handling its international sales.
Satire as Resistance
Asgari sees satire as a vital tool in his filmmaking arsenal, offering both a creative outlet and a form of resistance. Despite challenges, such as having his passport confiscated and working without official permits, he remains committed to his craft. In Doha, Asgari discussed how satire helps highlight the absurdities of censorship, transforming serious topics into relatable narratives that resonate globally. “You show how silly and stupid the rules are,” Asgari explains, emphasizing satire’s role in diminishing authoritarian power.
He notes that satire not only speaks to Iranian audiences but also helps international viewers connect with the issues faced by Iranian filmmakers. Humor, he argues, can engage audiences who might not otherwise grasp the gravity of the situations portrayed.
Navigating Risks and Rewards
Shooting “Divine Comedy” in Iran without permits was a calculated risk for Asgari. He believes filmmaking should be free from the constraints of government approval, asserting that applying for permits equates to relinquishing artistic freedom. Past experiences with censorship have reinforced his resolve to work independently, even if it entails personal consequences like having his passport taken.
Despite such challenges, Asgari remains undeterred. “As long as I’m alive, it’s okay,” he states, highlighting his commitment to artistic freedom over compliance with restrictive norms.
Universal Connections Through Film
Though his films are often accused of catering to Western audiences, Asgari insists his focus is on authentic storytelling rather than targeting specific demographics. “Cinema has no borders,” he remarks, recounting how audiences worldwide have connected with his work, irrespective of cultural differences.
The character of Bahram in “Divine Comedy” draws partly from Asgari’s personal experiences, particularly his underground screenings of “Terrestrial Verses” following its ban in Iran. These secretive showings became the inspiration for the film, blending real-life challenges with fictionalized humor.
At the Doha Film Festival, Asgari was pleasantly surprised by the enthusiastic reception of “Divine Comedy.” The engagement and thoughtful questions from the audience underscored the growing cinematic culture in the region, something Asgari has found deeply rewarding.
