Decision No.2 / Not to Make This Film
- Falling in Love with the Young Filmmaker
I communicated with the three brothers in various ways with the intention of understanding their current life situations better and enabling them to share their prison-time narratives whenever they felt comfortable. Manouchehr, particularly proactive, often initiated conversations and meetings where he eagerly recounted the stories he wished to share. However, he expressed reservations about recording his voice, transforming me from a filmmaker into an empathetic listener.
Encouraging him to summarize his thoughts for effective documentation, I proposed recording his voice during our next meeting. Although he agreed, he failed to show up the following day. A fortnight later, upon returning from the Cannes Film Festival, I received a perplexing message from Manouchehr, who was waiting in my garden, expressing his longing for my return. Unnerved by this unexpected gesture, I requested him to vacate the premises before my arrival, leading to a mix of emotions upon finding the spot deserted.
Subsequently, Manouchehr texted an apology, revealing his profound attraction towards me and suggesting grand plans for future adventures together. Despite his offers to travel on his BMW motorcycle and Caravan, accompanied by promises of boating excursions, he remained hesitant about being documented, hindering the film-making process.
- "All Iranians are Cowards"
Conversations with Mohsen predominantly transpired over the phone, necessitating precise scheduling. Amid the backdrop of the Woman, Life, Freedom uprising in Iran, Mohsen's preoccupation with ongoing political developments overshadowed our discussions, deviating from his personal recountings and undermining progress in capturing his narratives. His reluctance to be recorded further impeded the project's advancement.
- "I Am the Boss"
Mehdi, in stark contrast, exhibited a straightforward demeanor, explicitly stating his aversion to cameras. Despite his initial reluctance to delve into his prison experiences, our weekly conversations inevitably steered towards those anecdotes as he reminisced about his love for gardening and affinity for bees, even during his time in prison. To my surprise, Mehdi disclosed having discouraged his brothers from collaborating on the film, signaling the underlying influence he wielded over them. This revelation underscored the familial dynamics at play and led me to a poignant decision to halt the film project.
Artistic Development / Paraphrasing the Characters
I have delved deeper into the lives of these individuals, recognizing how their past experiences continue to shape their present existence. Each brother possesses distinct traits that I have come to understand through an artistic lens, revealing profound connections to their personal stories. Presented below are the pivotal narratives chosen by each brother, followed by insights into their current daily lives, aspirations, and the measures they take to safeguard themselves.
Preproduction
I as an artist were facing various situations and happenings which requied the a right decision to make the project happen. To make a practical decision I traveled to Germany to meet the characters and estimate how serious and demanding they are when I ask them to come to studio and see the reconstructed scene. It was the last week in September 2023 when I met them in Hamburg, seperately. I talked to them in person and spent some hours with them.
Mehdi was very interested to come to Stockholm and be in the studio but he didn't want to be captured by any camera. Considering to the time and supplies I had, I cancelled him comming to studio.
Mohsen asked me to rent a Caravan that he can come to Stockholm, due to his flight fobia. I cancelled him to be in studio too, production wise.
Manoo, disappeard and did not respond me anymore.
The whole idea of reenactment of the three brothers narratives, failed.Production wise, I was very alone and the idea was big.
Decision No.4 / Reconstructing the paraphrased characters
I decided to focus on the characters voices, telling their sensetive narratives and use the voices over my reconsrtucted footages.
Mohsen/ The Middle Brother
Narrative
Mohsen, the middle brother, was just 16 years old when he was detained, a rapid transition from adolescence to a harsh reality. Despite his towering stature and practical demeanor, he endured a turbulent 10-year imprisonment that left a profound impact on his psyche. Recollections of hunger, confinement, and the dehumanizing environment have fueled severe post-traumatic stress disorder (PTSD), sculpting his current existence in Hamburg, where he repairs vehicles alongside his German wife.
A poignant recollection from his time in confinement reverberates with stark contrast – the juxtaposition of oppressive incarceration against the tantalizing sounds of freedom. Mohsen shares the emotional weight of hearing joyous celebrations and poignant music echoing from the outside world, a stark reminder of the disconnect between his captive reality and the forgotten lives beyond prison walls.
"I hated them," Mohsen expresses candidly, reflecting on the bitter resentment towards those reveling in festivities outside, oblivious to the suffering within. The stark contrast of celebratory tunes intermingled with screams of pain unravels a heart-wrenching narrative of despair and abandonment within the confines of the penitentiary.
Character
The stark imagery painted by Mohsen's harrowing account – a towering man confined to a narrow shelf in a cell occupied by fellow prisoners crammed onto the floor – resonates as a haunting tableau of confinement and resilience. His vivid descriptions evoke a fusion of the surreal and the painfully real, compelling one to reconstruct the vivid imagery imbued with sounds and melodies that encapsulate his transformative experiences.
Mohsen's tale of juxtaposed realities, of revelry juxtaposed with suffering, fuels a desire to render the stark setting of the cell alive once more through evocative sounds and musings. The powerful image of a burly figure perched on a restrictive shelf amidst fellow inmates highlights the enduring impact of confinement and the enduring resilience etched into his very being.
A very larg man sleeping on a shelf in a cell.
Background
I was about 4 years old, seated in the front seat of my dad's motorcycle, on the way to my grandpa's house. As we turned into the alley, my grandpa emerged, walking slowly with the support of a stick. My dad pulled up next to him. Even as a young girl, I could tell from his red, teary eyes that grandpa had been crying. He fixed a long gaze on my dad's face and said, "They are still killing. I'm heading to the old cemetery behind the farms; it seems new bodies were buried there last night."
It was one of those early moments when I, just a child, realized that someone's death brings sadness. Who had been killed by whom? I couldn't comprehend. But there were always murmurs about a neighbor's son or daughter who was murdered, or unidentified bodies that were quietly buried without proper ceremonies. The hushed mournings of neighbors filled the air with a sense of mystery during my childhood.
As I grew older, more information gradually unraveled. We discovered the necessity of keeping certain topics strictly within the confines of our home. We were cautioned against discussing our family's interests, beliefs, and lifestyle outside. It was deemed too risky. There were constant references to "The others" – the revolutionaries, the ones who loathed dancing and music, those with an aversion to dogs, and a distaste for the wind tousling girls' hair. My dad always referred to them as "the Others."
The left-wing ideology had deeply permeated various sectors of society, including students, farmers, workers, and intellectuals. Despite having diverse political approaches, they all shared a common belief in egalitarianism – a principle also championed by religions like Islam.
Amidst this sociopolitical landscape, Ayatollah Khomeini, the religious supreme leader, seized the opportunity and rose above other revolutionary factions, consolidating his power as an absolute leader. The left-wing movements had underestimated the populace's inclination towards religion. Many left-wing parties joined forces with the supreme leader in opposition to the monarchy, overlooking the potential consequences.
Afterward, the Islamists turned on the left-wing groups, betraying them and prohibiting their activities. The majority of left-wing proponents found themselves detained. Recognizing the left-wing's influence among the general population, the Islamists viewed them as a significant obstacle to establishing an Islamic state. They initiated a campaign by targeting and eliminating the leaders first, then progressed to imprisoning all members, ultimately extending to the persecution of anyone associated, however remotely, with the left-wing movements.
Introduction
The events of November 2019 saw Hamid Noury, a former executioner responsible for escorting prisoners to the firing squad, being apprehended at Stockholm's Arlanda airport. Survivors had orchestrated a trap to capture him, leading to his arrest upon landing in Sweden. The survivors had initiated legal proceedings in both London and Sweden, leveraging Sweden's commitment to investigating international crimes under agreements it had signed.
In 2021, the quest for justice began in Stockholm, with over a hundred witnesses from various countries traveling to testify and identify their tormentor, Noury, in the Stockholm Court of Justice. As an artist involved in a documentary project at the time, I was tasked with sketching the courtroom as per Swedish law and tradition. I interacted with many survivors and their families, witnessing tearful eyes, trembling bodies, and ashen faces of individuals who, even after three decades, were still haunted by the horrors they endured. Many had journeyed from different parts of the world to Sweden, clutching photos of their loved ones, determined to testify about the years of suffering they had endured.
Amidst Noury's denial of his real identity, the primary focus of the court proceedings became the task of confirming his true persona – the executioner whom numerous survivors had identified in their prison diaries, letters, books, and poetry. The court faced legal constraints that necessitated strict adherence to specific protocols. However, it became apparent to me that the courtroom, with its formalities, was an inadequate setting to hear the emotional narratives of trauma, suffering, and exile endured by the survivors.
This prompted me to question where these poignant stories truly belonged and to whom they should be recounted. These were stories that even their owners sometimes found challenging to express due to feelings of guilt and shame. Yet, the harsh reality remained: a segment of the nation had endured unspeakable atrocities, leaving many to grapple with the haunting question of why a group of young, educated, forward-thinking individuals had been brutally silenced and erased from existence.
Mehdi/ The Oldest Brother
Narrative
Mehdi, the eldest sibling, was incarcerated at the age of 18 due to his political involvement, receiving a 10-year prison term following the Iranian Revolution. Surviving the brutality of the massacre, he was released in 1992, only to struggle to adapt to post-revolution society in Iran. Eventually, he sought refuge in Germany, where he currently resides in Hamburg, working with children in a refugee camp.
In one impactful narrative, Mehdi found himself in a prison cell where a tribute to Khomeini, the late supreme leader, was being recited on TV. Disgusted by the glorification of Khomeini's legacy, Mehdi vocalized his disdain, leading to a brutal punishment by the guards. This ordeal left him secluded and tortured for five months, fundamentally altering his personality. The once outgoing and supportive Mehdi descended into silence, shunning social interactions and harboring deep-seated mistrust.
Character
Mehdi exhibits peculiar behaviors that serve as reflections of his harrowing past. Notably, he regularly cuts the collars off his shirts, symbolizing his enduring trauma and a sense of confinement. Additionally, Mehdi preserves a belt exchanged with a fellow prisoner named Ebrahim, signifying a tangible reminder of betrayal and the imperative to guard against trust. Engaging in beekeeping as a therapeutic hobby, Mehdi values the democratic order within beehives, finding solace in the structured harmony they offer.
In confronting the aftermath of survival and betrayal, Mehdi's outward behaviors illustrate his internal turmoil and guardedness. His aversion to collars, symbolic belt retention, and affinity for bees reveal a man deeply scarred by past wounds and steadfast in his protectiveness. This multifaceted persona exemplifies the resilience of a survivor grappling with unresolved trauma and the persistent need for self-defense.
The Three Brothers
The encounter with Mehdi, Mohsen, and Manouchehr—three brothers who had endured a decade of imprisonment after surviving the massacre—left a profound impact on me as I sat within the courtroom, listening to their testimonies. These siblings had been mere children when they were apprehended, subsequently thrust into the grim reality of the so-called "Death Corridor" before being sentenced to ten years behind bars.
Witnessing their testimonies, I noted a remarkable level of honesty and truth in their accounts, distinguishing them from their fellow witnesses. Each brother brought a unique perspective to the proceedings:
-
Mehdi, the eldest sibling, made it a condition for the courtroom to exclude any cameras, media personnel, or journalists from the corridors before he would testify. This request underscored the sensitivity and gravity of his testimony.
-
Mohsen, the middle brother, intricately described the evidence with such acute detail that as a listener, I could vividly envision the colors, textures, and confines of the prison building. His account was so lifelike that it felt as though I were experiencing it alongside him.
-
Manouchehr, the youngest brother, approached his testimony somewhat differently. Despite the court's primary focus, he was determined to share his experiences of enduring mock executions and torture. His demeanor resembled that of a stubborn child, eager to recount his story rather than solely focusing on identifying the executioner. This led to frequent interruptions by the prosecutor in an effort to steer his testimony towards answering specific questions.
Each brother's unique perspective and approach to sharing their harrowing experiences contributed to a multifaceted portrait of the atrocities they had endured, offering a glimpse into the resilience and determination that defined their journey towards seeking justice and closure.
Decision No.3/ To Follow Up
In June 2023, Mehdi came to Stockholm, visiting me. We went for a walk and talked about different things, including the film. He wanted to know me more, who I am and why I want to make this film. I understood he has a very serious trust issue. Also I found out that as I stepped back, it was them to reached me, following up the process.
I felt I should be more diligent in the filmmaking process. Then I decided to continue to contact them and design some strategies in my communication.
Manoochehr / The Little Brother
Narrative
At the tender age of 13, Manoo was thrust into the harsh reality of arrest, attempting to flee but met with a dead-end in a narrow alley. Currently residing in Stockholm with his family – a wife and two daughters – he embraces a career in building construction.
Enduring severe beatings and torture immediately following his arrest, Manoo faced a harrowing ordeal that haunts him to this day. Shackled to a bench, the young adolescent endured lashes on his soles with a cable, the brutality leaving lasting scars. Subsequently subjected to a mock trial and execution, he bore witness to the grim fate of fellow prisoners before being sentenced to a decade behind bars. In the confines of the prison yard, he sought solace in playing football while yearning for his mother, his vulnerability stark against the harsh backdrop of incarceration.
Character
Beside his role in the construction industry and his family life, Manoochehr reveals a penchant for acquiring vehicles – including a BMW car, a BMW motorcycle, a boat, and upcoming plans for a Caravan – reflecting a latent wanderlust and a yearning to explore the world.
Despite his collection of vehicles and dreams of global exploration, Manoo's ventures beyond his familiar surroundings remain deferred, hinting at unfulfilled desires and postponed aspirations. Expressing his penchant for falling in love easily, he muses on missed opportunities in his youth, articulating a longing for companionship marked by qualities of sweetness, energy, and vitality. Manoo's yearning for adventure and connection underscores a bittersweet narrative of untethered desires amid the realities of his present existence.
I saw a little boy who still buys toys, trapped in a 56 years old body.
Over time, as technology advanced, more information about the massacre came to light. Diaries, poems, memorials, family accounts, and gatherings of survivors began to shed light on the truth, enlightening the wider society. Several Iranian international television channels were established outside Iran, along with radio programs and book publications, contributing to raising awareness about the Iranian national trauma that had transpired.
Despite these revelations, the authorities of the Islamic state consistently denied the claims. In 2014, when the Hague Court of Justice summoned the Islamic regime of Iran to participate in the legal process and address the allegations, they chose to ignore the summons. The Hague proceeded with a hearing in absentia to listen to witness testimonies. This resulted in a substantial amount of information surfacing about the heinous actions carried out by the Islamic regime against prisoners during the 1980s. These testimonies were officially documented for the first time in an international court of justice, inspiring more survivors and their families to come forward, leading to a growing collective effort in seeking justice.
For those seeking more detailed information, IRANTRIBUNAL.COM serves as an online resource. Additionally, a documentary film titled "Those Who Said No" visually captures the tribunal process and features the testimonies of survivors, providing a comprehensive view of the events.
Why Reenactement?
The main aim of reenacting a real story is to bring it up for re-thinking, re-discussing and re-watching it. To re-evaluate what have been defined as value, and re-define the values. I was born after the revolution of Iran, and grew up in war (Iran & Irak). My generation has always made questions about the revolution; why it happend when there was not a national benefit in it? Who made the revolution happen? We were seeking the truth; As we discovered and got more knowledgeable we more tried to deliver it to the next generation. The generation who are in streets today, chanting woman, life, freedom.
During the latest uprising in Iran, and after observing the court of Stockholm, I realized we are trapped in a loop of oppression. All the uprisings after 1979 were oppressed heavily. The same oppression happend in 1998, 2009 (Green Movement), 2017, 2019, 2022.
Killing the protestors goes on by the Islamists and the colonisers (EU & US) legitimate the Islamic regime again and again.
I believe, we need to re-watch what happened in 80's and disscuss it; not only Iranian but the western societies as well. We need to bring the human's suffer by their colonisers decisions, up and make our oudiences to re-think and re-watch what has been doing during years and decades.
As I grew older, it became increasingly evident that "the Others" referred to the Islamists who had imposed restrictions on free social life for the rest of society. They were the individuals who rose to power following the 1979 revolution, introducing constraints, instilling a sense of humiliation, and spreading fear amongst the population.
In my social circle, I befriended individuals who had experienced loss due to "the Others" – those who had lost loved ones, been victims of violence, or had their possessions confiscated. Simple items like cassette tapes, drinks, VHS players, and certain books with white covers set us apart from "the Others." We were labeled as non-believers by their standards, sparking an underlying tension in our interactions at school, in public spaces, and within our social circles.
During high school, I had a teacher who had survived a massacre orchestrated by "the Others." In university, I encountered more families who shared similar stories of missing loved ones due to these tragic events. The tears in my grandpa's eyes began to mirror the tragedies that surrounded me. Who were these individuals who were killed, and for what reasons?
Navigating these questions in a world where information was restricted proved to be challenging. However, I learned that the victims were often individuals who simply sought to create positive change in the world. Despite their differing perspectives, many of them shared a common belief in liberation and egalitarianism.
Decision No.01/ Creating Communication
My initial decision was to create a platform for capturing these stories, recognizing that the confines of the courtroom were insufficient for truly delving into these narratives. This led me to embark on a filmmaking journey centered around the experiences of three brothers.
Building upon the connections I had established with survivors and court attendees, I reached out to Mehdi and Mohsen, who reside in Hamburg, Germany, and Manoochehr, located in Stockholm. Introducing myself and outlining the purpose and goals of my project, I commenced communication with the brothers.
While most of my interactions with Mehdi and Mohsen took place over the phone, I had the opportunity to meet Manoochehr in person in Stockholm. His enthusiasm for the film project exceeded even my own, as he spontaneously proposed, "I have a camera; let's begin right away."
During my visit to Hamburg, I met Mehdi at a local coffee shop. Presenting himself impeccably dressed, he exhibited a meticulous attention to detail in his attire. Despite my request for a photo, Mehdi expressed his aversion to cameras, a sentiment that didn't surprise me.
With Mehdi's guidance, I located Mohsen's residence in Hamburg, although he declined to accompany me. Upon arrival, amidst rainy weather, I presented Mohsen with a bottle of wine, and he graciously prepared a modest dinner. Initially hesitant about participating in a film on this subject, Mohsen later expressed appreciation for those willing to address such important topics. He shared insights into his circumstances, indicating his willingness to engage in the project if there were provisions for travel expenses.
Following my interactions with all three brothers, Mehdi declined to be filmed, while Mohsen and Manoochehr eagerly embraced the opportunity for collaboration. Subsequently, I maintained regular communication with them through both phone calls and face-to-face meetings.