Director Nader Saeivar speaks about his powerful film The Witness (Shahed), which recently participated in the Venice Film Festival and won the Orizzonti Extra Audience Award. Saeivar discusses how the recent events in Iran, particularly the "Women, Life, Freedom" revolution, inspired him to craft a narrative that resonates deeply with the current struggles for women's rights and social justice in the country.
AM: How did you nurture your creative process while preparing for the film, including aspects like brainstorming and research?
NS: The recent events in Iran that sparked the "Women, Life, Freedom" revolution had a profound impact on me. It felt instinctive to connect my next film to this movement, as the powerful scenes from the revolution resonated with the thoughts and emotions of every artist. In writing the script, we drew inspiration from numerous real stories that emerged daily in Iran and continue to this day. Each of these stories could have served as the foundation for a compelling film on its own. Ultimately, we chose to tell a narrative that explores the various dimensions of this social movement.
AM: Could you elaborate on the difficult filming process?
NS: Due to the political situation, we were unable to follow the legal procedures in Iran to produce this film and had to work underground. As a result, we operated in secrecy, using small cameras concealed in our backpacks. We positioned several people around the set to alert us in case the police arrived, at which point we would quickly flee and find another location to continue filming. Our time to set up scenes and rehearse was very limited, and at times we couldn’t even afford to reshoot takes. These constraints also influenced the film's style; we had to minimize cuts and convey entire sequences in a single shot since we could never be certain we would have the opportunity to reshoot from different angles.
AM: What motivated you to choose a dance teacher as the protagonist?
NS: Dance emerged as one of the central symbols of the "Women, Life, Freedom" revolution in Iran. This movement began with the call for women's freedom, and dancing in the streets became a form of protest against oppression. Dance evolved into a powerful weapon against tyranny. We decided to make our protagonist a dance instructor—a character who sacrifices her life but leaves behind a legacy of young dancers. Through this choice, we aimed to emphasize the roots of this struggle in Iran. The ongoing revolution is deeply intertwined with the country’s history. Many women have been imprisoned or have lost their lives in this fight. Unfortunately, women in Iran remain some of the most marginalized and oppressed individuals in society.
AM: Given that the character embodies the struggles faced by the current generation in the region, would you classify this film as political? What key message do you hope to communicate?
NS: Without a doubt, this film is both political and social. It acts as a mirror, reflecting the current conditions of life in Iran, where individuals risk imprisonment and death to obtain their most fundamental rights. Ultimately, we aimed to highlight the persistence of this revolution. The people involved are not weary—they continue to push forward. We believe that this revolution is just beginning and, in the future, it will blossom like a tree, yielding fruits that we will one day witness.
AM: Tell us more about the impact of Venice Film Festival on your career…
NS: The Venice Film Festival can play a significant role in highlighting the oppression faced by the people of Iran. Our experience has shown that as we amplify the voice of our revolution and advocate for freedom on the global stage, authoritarian regimes are compelled to retreat. If Iran has managed to avoid becoming another North Korea and if there is still hope for its future, it is largely due to international pressure. This pressure comes from raising awareness and bringing the oppression occurring in Iran to light.
While the potential impact of the Venice Film Festival on my personal work and life is important, it is not the primary concern. What truly matters is the possible effect that the festival and the screening of our film could have on the Iranian revolution. One of the vital roles of such artistic events, beyond showcasing the art and aesthetics of cinema, is to bring attention to the human and moral issues highlighted in the films.