Iranian Americans have become a prominent diaspora community in the United States, but when it comes to the television and movie world, there’s still so much work to be done when it comes to representing this community. That’s why when movies likeThe Persian Version, which wasdirected by Maryam Keshavarz, come out, it’s a moment of celebration for those who haven’t had the opportunity to see themselves on the big screen before in such a way. The movie had its premiere at the Sundance Film Festival, and it won awards there and the hearts of people all over the world for the way it fused comedy with drama.
InThe Persian Version, one Iranian American family grapples with the impacts of immigration, what it means to be split between two different ideologies and identities, and what it takes to finally undo the roots of family trauma, especially when it comes to women from a conservative, patriarchal culture. While there are many moments to laugh and cheer at what’s happening on-screen, there are also some poetic, stunning moments where the women are able to take back their stories.
The Persian Versionis refreshing in a world where this form of representation is lacking, especially when it comes to showcasing women SWANA voices. Here’s why we need more films like it.
A Rare Glimpse into Iranian Diaspora Culture
Very few Iranian American filmmakers and films have been able to get the distribution and love thatThe Persian Versionhas, and it defies all the stereotypical expectations of it from the very beginning. Its protagonist, Leila, shows up to a party in a burqakini, satirizing her own culture witha Halloween costumeand a couple of laughs. What’s more, her grandmother gives sex advice while watching dramas on the couch, there’s not a woman in a hijab or chador to be seen outside of Iran, and the Iranians in Iran are depicted as thrilled to have smuggled American entertainment and dance to “Girls Just Wanna Have Fun” instead of calling for the deaths of Americans.
There are no tropes pandering to what people think Iranians are inThe Persian Version, and it’s refreshing. Our main character is a lesbian who has a one-night stand with straight man dressed in drag and gets pregnant, and her mother is a woman who learns to fight and earn what she wants. Neither fits within a specific box that leans on stereotypes, and the men in their lives don’t try to stop them from achieving their dreams. It’s not uniquely an Iranian movie, nor does it fit the bill of whatcinema from Irantypically goes for aesthetically.
The Persian Version Review: A Powerful Narrative Told with Flair
The rebellious Leila (Layla Mohammadi) comes to understand her strict Iranian mother (Niousha Noor).
It’s also important to note thatThe Persian Versiondoesn’t forget its roots at all. From the scenes of dicing the herbs forghormeh sabzito the classic ideological rift between an Iranian-born parent and their American child, many second and first generation Iranian Americans will find a sense of home in this story. Even in one scene, Leila’s mother, Shireen, gasps when she realizes that Americans show up at the agreed-upon time rather than the typical Iranian standard of being fashionably late. It’s these little moments that make the movie shine as a form of representation, even when the comedy takes a step back for serious moments.
Decolonizing How We Make Movies
Some of the biggest critiques ofThe Persian Versionhave been about its narrative structure and how itbreaks the fourth wall. At times, it can be considered messy in how it jumps back and forth between periods, skipping between Iran and America, and a few might want to roll their eyes when a character looks into the camera and addresses the audience directly. However, it’s these unconventional forms of storytelling that forms the crux of many diaspora communities around the world. For us to truly decolonize and appreciate other cultures and people for who they are, the movie world needs to acknowledge that the typical Hollywood narrative structure can be considered a byproduct of colonialism, and we can’t impose those standards on people of color.
Iranian Cinema: A Decades-Long Medium of Resistance and Protest
Iranian directors, writers, and actors have been using movies as a form of resistance and protest for many years now.
By putting movies likeThe Persian Versioninto binaries that stem from Western beliefs about genres, it actually limits the ways movies can be authentic — and the world craves for what can be dubbed as authentic, whether it’s Asian food or film. In the Iranian context, storytellers have played a critical role in the culture, and the execution of it has varied between song, poetry, drama, or even something in-between. The women characters are the ones breaking the fourth wall in the film, reasserting their right to tell their stories and take on the role of the storyteller, despite being Iranian women, who are historically denied such platforms.
In the end, whether you think the structure ofThe Persian Versionis unorganized or not, suited for a miniseries rather than a movie, it does represent how messy life and trauma can be for these diaspora communities. Coming to understand what these families have gone through and left behind isn’t a linear process, nor does it appear in a cookie-cutter way across cultures and communities.The Persian Versionnot only teaches us to be tenderhearted and empathetic, but to be brave, unapologetic in approach and technique. It may not be perfect, but it has a lot of heart.
