News | Mansour Forouzesh

News / Photography

Ordinaяy Moment – Iranian Photo Exhibition in Budapest

May 13, 2025

“Ordinaяy Moment”: Iranian Photographers Capture Everyday Life at FUGA as Part of Budapest Photo Festival 2025

Budapest, Hungary – April 10, 2025 — The photo exhibition Ordinaяy Moment opened its doors at FUGA: Budapest Center of Architecture, offering visitors a rare and compelling look into the nuances of everyday life in Iran through the eyes of 18 emerging Iranian photographers. Curated by Iranian visual artist, Filmmaker, and researcher Mansour Forouzesh, the exhibition is a central feature of the Budapest Photo Festival 2025 and is proudly supported by the Hungarian University of Fine Arts (MKE).

Originally scheduled to run until May 5, the exhibition has now been extended until May 14 due to high public interest. It is open to visitors Wednesday through Sunday, from 14:00 to 19:00 at FUGA, located in downtown Budapest.

Ordinaяy Moment is the culmination of over two years of research and curatorial work, grounded in Forouzesh’s broader research project titled [IN]VISIBLE MEANING, which investigates the role of narrative in fine arts. The exhibition brings together a diverse selection of visual narratives that explore the poetic, political, and personal dimensions of daily life in contemporary Iran. It challenges clichés and offers a multifaceted, deeply human perspective on a society often oversimplified in mainstream discourse.

Related article on Iran Daily: https://newspaper.irandaily.ir/7805/8/14736

Reflecting the rich social, cultural, and climatic diversity of Iran, the featured photographs capture fleeting and intimate scenes—quiet gestures, urban stillness, rural rituals, and domestic atmospheres—imbued with subtle emotion and storytelling.

“This exhibition is not about grand spectacles; it’s about small, shared truths,” Forouzesh said. “These images speak to a collective memory shaped by the ordinary, which often carries the deepest meanings.”

The participating photographers are:
Amir Masoud Arabshahi, Arash Tawakoli, Bita Kahnamoui, Fatemeh Salehi, Golnaz Zibandekhoo, Hojatolah Ataie, Majid Halvaei, Mahnaz Minavand, Morteza Beiglou, Meysam Pourjafari, Mohsen Tavangar, Nikoo Alidoosti, Parham Raoufi, Reyhaneh Malek Shoar, Samira Saramad, Sajedeh Erfani, Shervin Shirkoubi, and Saeedeh Mirzadeh.

The exhibition is also accompanied by a review from art critic Réka Kovács, offering critical insight into the cultural and aesthetic significance of the project. The full English review can be read at: rekkova.hu/en/showing-iran-bpf-2025

News / Photography

Exploring Narrative Within The Artistic Framework

January 6, 2025

[IN]VISIBLE MEANING: Exploring Narrative within the Artistic Framework

Mansour Forouzesh

Magyar Képzőművészeti Egyetem | Hungarian University of Fine Arts

Abstract:

The dialogical process between the audience and the artwork is fundamental to the occurrence of artistic communication. Artistic communication is influenced by many factors, making it a complex system. This complexity comes from the interaction of various philosophical, social, psychological, and other elements that shape the artistic experience and motivates the audience to find/create a meaning while being confronted by the art work.

A key part of the artistic experience is the artistic narrative component. Artistic rhetoric, as shown through narrative, creates a strong connection between the artist and the audience via the artwork. This relationship is central to the effectiveness of artistic communication, as it allows the ideas, emotions, and messages from the creator to reach the viewer, enhancing the overall impact of the artistic endeavor.

In this research, I aimed to experiment with a narrative framework that reflects the ideas which I wanted to express through my artworks.

Keywords

Artistic Communication, Meaning in Art, Artistic Narrative, Photography, philosophy

Introduction

The [IN]VISIBLE MEANING artistic research project explores how meaning emerges in documentary photography, where captured events are part of everyday life rather than staged for the purpose of creating meaning.

The main issue in this research is not whether a meaning could possibly be transmissened to the audience or not. Instead, the process of relating phenomena in the photography based artworks that occurs in the audience’s mind is the goal.

“Getting meaning” or being “meaningful” in an artwork seems to occur through the emotional connection between the viewer and the artwork. And as Roland Barthes believes, it is the viewer who ‘makes’ the picture[1].

However this connection between phenomena presented in a photograph, which can lead to a particular meaning in the audience’s mind, might not exist in the real world. Here, I would like to clarify that by “reality” or “real world,” I am referring to the physical lived experience encountered by the photographer or artist. Thus, I define it as the tangible world that the camera is able to capture.

Given the definition of reality, we can raise the question: How can photos, as representations of reality, lead the audience to derive a meaning that is valid for them? Although documentary photos record concrete events, they were not created with the intention of generating meaning.

Therefore, can we ask these questions, where do these meanings come from? Are they based on the human desire to discover and apply meanings in their lives? Is it accurate to say that the meaning that emerged in the audience’s mind from a photograph/art work depends on their mental and emotional states? Where the context in which the audience tries to understand the meaning behind the photo has been created? By the artist? Or the audience?

The issue of shadows in Plato’s Allegory of the Cave, or the case of the elephant in a dark room, by Rumi[2], could further explain this discourse. In both explanation of human interpretation of the outer world, the truth and reality were different for each individual as they could only comprehend things based on their personal grasp on the representation of the events.

Thus if it is the audience who creates the meaning in their mind, what could possibly be the role of the artist? Could the allegory of cave perfectly explain the complexity of the relation between the audience and the photo?

As part of this comprehensive research project, the initial phase of this study is dedicated to elucidating my personal engagement with the concept of narration or the artistic narrative.

If we accept that the common ground between information and emotions is their intersection within the narrative structure, then we can hope that by identifying a narrative pattern between the audience and the artist, we can provide a more accurate explanation of the meaning-making process.

With this experimental artistic research methodology, I have endeavored to investigate a framework in which the artist, the audience, and the artwork are viewed not as separate entities, but as interconnected components of a complex system that mutually influence each other through the processes of artistic communication.

Artistic Narrative Elements

As Terry Barrett explains the relationship between the artist and the audience is not a one-way transmission of meaning from the creator to the viewer. Instead, it is a dialogical process where the audience actively interprets and engages with the artwork, bringing their own perspectives and experiences to bear. This interaction can lead to multiple interpretations and a richer understanding of the work. The audience’s role is thus integral to the complete realization of the artwork’s meaning[3].

Within this dialogical process, the narrative serves as the crucial link between the audience’s pure artistic experience and the artistic expressions created by the artist, enabling the various parts of the story to be understood in relation to each other. Therefore, the dialogical process will be complete if the artistic narrative makes it effective.

The importance of artistic narrative lies in where the information or phenomena that influence the artist meet the artistic efforts to communicate through a critical, philosophical, or emotional creation. The narrative serves as a tool to connect the artist’s concerns with the audience through the artwork.

My artistic experience indicates that artworks occasionally diverge from the descriptions provided by artists to introduce their works or intentions. Although both the ideas and the artworks aim to convey a concept, the connection is sometimes not effectively established. Conversely, in some other artistic works, the connection is perfectly clear, demonstrating that the artist is not only “aware” or “concerned” with something important but also able to convey their concerns effectively through the artwork by creating a narrative structure within it.

In this regard, I aim to examine how this dialogical process occurs through a narrative structure in which the audience can discover their share or role in creating or finding meaning in my artworks which have been exhibited in the past two years.

To provide a clearer explanation, I have divided the issue of artistic narration into two main categories:

Internal Narrative Elements: This category refers to the narrative connection between different components within a single artwork. It encompasses the relationships among the internal elements of a painting or photograph. Additionally, it includes the connections among multiple photos, paintings, or other works of art created by an artist, viewed together as part of an artistic assemblage.
External Narrative Elements: This category pertains to the connection between the artwork and its surrounding world, which can influence or be influenced by the artist or the audience. It involves examining the social, cultural, and political context, as well as the space or event in which the artwork is presented to the audience.

Before discussing my experiences with the exhibitions, it is pertinent to provide a brief overview of the photo series I have exhibited, which will enhance the understanding of the topic.

Comfort Zone is a photo series that explores the complex relationship between humans and their urban environments, highlighting the presence of people in city spaces. Urban structures, intended to create order and safety, also symbolize individuals’ backgrounds, social classes, and social networks, affecting human life profoundly. The series critiques how cities have overshadowed human centrality, leading to psychological and social phenomena that overwhelm people. Through metaphorical depictions, the collection portrays humans in their fundamental nature, confronting a city built for “citizens.”

Figure 1 Comfort Zone | Limbo 2022

The FEAR Photo Series comprises 12 images taken during the pandemic quarantine, each paired with a headline from major international media outlets. These photographs reflect on the pervasive influence of COVID-19 news and media coverage on daily life, highlighting their role in heightening public anxiety and shaping societal perceptions. Beyond documenting media impact, the series aims to chronicle the emotional and psychological toll of the pandemic through deliberate compositions and symbolic visual elements, offering both a visual narrative and a historical record of collective experiences during this global crisis.

Figure 2 FEAR 05 | 2021

Space as an External Narrative Element

Based on the aforementioned definition of the external narrative element outlined in this article, I have regarded space as a narrative component to integrate into the storytelling intended for the audience. The spatial context already existed without alteration; however, its strategic utilization could enrich the interpretative depth of the descriptions presented in these two photographic series.

These two photo series differ significantly in how subjects are presented within their compositions. The FEAR series falls into the still-life genre, serving as a visual narrative of how media impacted my personal life during the Covid-19 pandemic. In contrast, Comfort Zone is a documentary series in black-and-white, revealing urban life’s contradictions.

FEAR employs a fixed angle to depict my interaction with objects during the pandemic’s onset, aiming to create a visual narrative of my experience and media’s influence. This series aims to resonate emotionally with viewers through shared experiences, using fear and obsession during the pandemic as a common language. Technically, the photos maintain a specific angle to enhance audience focus and attention on surrounding objects.

Figure 3 [In]visible Meaning Photo Exhibition | April 2023

Conversely, Comfort Zone communicates through documentary photography, highlighting the contradictions inherent in urban environments. The series explores the discord between human life and urban spaces.

For the Comfort Zone exhibition, I chose an unconventional venue—a warehouse in an old Budapest building not intended for social or gallery use. This setting underscores the discomfort and contradiction depicted in the photos, immersing viewers in the narrative’s tension.

In contrast, FEAR was exhibited in a clean, organized space that emphasizes the importance of the photographs over the surroundings. This environment allows viewers to focus solely on the images and experience what the photographer saw, without the additional pressure imposed by the exhibition space.

Installation and Experimentation with Internal Narrative Elements

The concept of making installations both visually captivating and intellectually stimulating is supported by the purpose and significance of installation art, which transcends traditional boundaries by engaging viewers physically and emotionally, often serving as a medium for social commentary and personal narratives[4].

In this project the installations revolve around photography while echoing the central concept across various mediums. The focus is on how the main idea of the installation can be repeated and conveyed to the audience, and how an installation can be visually captivating while also imparting a philosophical or thoughtful narrative[4].

Installation art often aims to transform spaces into engaging, thought-provoking environments, utilizing various elements such as sculptures, multimedia, and lighting to create immersive experiences that resonate with viewers[5].

Figure 4 The Bubble installation | 2B Gallery Budapest 2023

In this context, I have endeavored to create a narrative where the audience can discover my questions through the installations. These installations reflect the philosophical ideas that have fascinated me. To construct this narrative, I have experimented with different materials and mediums to see if the questions could effectively be shared with the audience. This aligns with the idea of using different mediums to echo the central concept of an installation[6].

The employment of diverse mediums was not merely to echo ideas but to intricately contribute to a comprehensive conceptual framework. Thus, each constituent of every installation functions rhetorically in relation to others. Should any part be absent, although retaining meaning independently, the overarching idea of the installation would remain incomplete. And this is what I define as an internal narrative within the art work.

THE ALLEGORY OF THE BUBBLE

The Presence and Absence

The first installation, titled “The Presence and Absence,” exhibited at 2B Gallery in Budapest, explores the subjectivity and objectivity of phenomena in human life. It delves into what we see and feel as we confront the complex combinations of elements around us. This exploration can be related to the fusion of space, materials, and subject matter in installation art, allowing me to challenge societal norms and provoke thought, engaging viewers on both intellectual and emotional levels.

Figure 5 The Bubble installation | 2B Gallery Budapest 2023

In this installation, we see three photos depicting the stages of a water bubble bursting in the air near a rod visible behind it. Spatial illusion and visual error make us think that the bubble has burst due to a collision with the rod on top of the building, while in reality the rode is far behind the bubble. This coexistence is creating a semantic structure in the audience’s mind. The rod and the bubble are actually several tens of meters apart. These three photos illustrate the formation, presence, and absence of the bubble. This juxtaposition serves as a reminder of the philosophical concept of being and not being.

Adjacent to the three photographs of the bursting bubble, I have installed an artwork metaphorically depicting the moment of the bubble’s existence. To explore this idea further, I used a balloon, a pedestal, and some pieces of metal wire to create a metaphorical image that halts the fleeting moment captured in the photos. By combining the balloon, pedestal, and a glass box, and utilizing shadows, I aimed to initiate a dialogue between existence and non-existence.

This dialogue generates an interesting visual juxtaposition between the bubble photos and the balloon itself, along with its shadow on the wall, reflecting a recurring idea. The concept of “to be or not to be” is presented once through the sequence of bubble photos, and again through the philosophical relationship created between light, shadow, and balloons.

This interplay of elements and ideas creates a layered narrative, encouraging viewers to contemplate the transient nature of existence and the illusions of perception.

[NON]SENSE

Id, Ego, SuperEgo

The second installation employs three different mediums to create a philosophical and psychological narrative. According to Freud, human personality consists of three components: the id, the ego, and the superego[7]. This much is widely understood. However, the narrative extends further. If we accept that the superego represents the upper or transcendental aspect of the human personality, we must examine it more closely.

In Freud’s view, the superego is an evolutionary construct founded on wisdom and human experience, making it the most evolved part of the personality that responds to external phenomena.

The super-ego is the representative for us of every moral restriction, the advocate of a striving towards perfection – it is, in short, as much as we have been able to grasp psychologically of what is described as the higher side of human life[8].

This interpretation of the superego can be likened to Rumi’s philosophy, which suggests that achieving perfection requires “introspection”—looking inward rather than seeking perfection or the path to it externally. Rumi profoundly notes, “The inspiration you seek is already within you. Look inside”[9].

Based on Freud’s definition of the superego and Rumi’s philosophy of introspection, I have created an installation that integrates these two ideas, highlighting their similar yet distinct perspectives on understanding the world.

By integrating these perspectives, the installation weaves a narrative based on these two viewpoints to comprehend the world around us. The installation comprises three distinct parts: Id, represented by three photographs; Ego, manifested in a video installation; and Superego, embodied by an interactive object.

In the combination of these mediums, the audience becomes intrigued and actively engages with the exhibition to deepen their understanding. Initially, viewers encounter the photographs and begin to formulate interpretations. The Id photo series features three symbolic photographs that explore Freud’s concept of personality.

Next, the audience experiences the video installation, which is intricately edited and blends various themes. A central character wearing a mask captivates viewers’ attention throughout the video. Finally, with the Superego art object, viewers are prompted to peer inside the mask, where they see only their own eyes. This moment is profoundly impactful as viewers realize their reflection within the artwork. This process shifts the narrative perspective from third person to first person, prompting the audience to reassess the installation from a personal standpoint.

This act of “looking inside” creates a pivotal moment in the dialogue between the audience and the artwork, fostering a deeper connection and understanding.

Conclusion:

Drawing on my background in storytelling and screenwriting, I aimed to incorporate a subtle yet profound element—narrative—into my artworks. This effort is deeply personal and evolves uniquely with each piece, making it difficult to establish a definitive and repeatable pattern for creating narrative in art. Therefore, I categorized internal and external narrative elements to encourage discussion and exploration among fellow artists.

In essence, after an artwork is created, it follows a path where audiences seek meaningful connections driven by their innate need to find significance in the world. This meaningful interaction happens through a subtle yet powerful form of communication—the narrative within the artwork, presented by the artist for audiences to uncover and interpret.

Roland Barthes, Camera Lucida: Reflections on Photography (New York: Hill and Wang, 1981), 15.
Jalāl ad-Dīn Muhammad Balkhī – Rumi (1207-1273)
Barrett, Terry. Interpreting Art: Reflecting, Wondering, and Responding. New York: McGraw-Hill, 2003.
Konečni, Vladimir J. “Emotion in Painting and Art Installations.” The American Journal of Psychology 128, no. 3 (2015): 305–22. https://doi.org/10.5406/amerjpsyc.128.3.0305.
“Exploring Installation Art: A Guide to Modern Exhibitions.” Exhibition Globe. Accessed June 13, 2024. https://exhibitionglobe.com/installation-art-guide.
ELISA CALDAROLA, On Experiencing Installation Art: Symposium: Installation Art, The Journal of Aesthetics and Art Criticism, Volume 78, Issue 3, June 2020, Pages 339–343, https://doi.org/10.1111/jaac.12734
Boag, Simon. “Ego, Drives, and the Dynamics of Internal Objects.” *Frontiers in Psychology* 5 (2014): 666. https:/doi.org/10.3389/fpsyg.2014.00666.
Freud, Sigmund. New Introductory Lectures on Psycho-Analysis. Translated by W.J.H. Sprott. New York: W.W. Norton & Company, 1933.
Molavi, Jalal al-Din Mohammad. Kulliyat-e Shams-e Tabrizi. Section: Rubaiyat, Rubai No. 1759. Tehran: Amir Kabir Publishing Institute, 1376 [1997].

Bibliography:

Barrett, Terry. Interpreting Art: Reflecting, Wondering, and Responding. New York: McGraw-Hill, 2003.
Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981.
Boag, Simon. “Ego, Drives, and the Dynamics of Internal Objects.” Frontiers in Psychology 5 (2014): 666. https://doi.org/10.3389/fpsyg.2014.00666.
ELISA CALDAROLA, On Experiencing Installation Art: Symposium: Installation Art, The Journal of Aesthetics and Art Criticism, Volume 78, Issue 3, June 2020, Pages 339–343, https://doi.org/10.1111/jaac.12734
Freud, Sigmund. New Introductory Lectures on Psycho-Analysis. Translated by W.J.H. Sprott. New York: W.W. Norton & Company, 1933.
Konečni, Vladimir J. “Emotion in Painting and Art Installations.” The American Journal of Psychology 128, no. 3 (2015): 305–22. https://doi.org/10.5406/amerjpsyc.128.3.0305.
Molavi, Jalal al-Din Mohammad. Kulliyat-e Shams-e Tabrizi. Section: Rubaiyat, Rubai No. 1759. Tehran: Amir Kabir Publishing Institute, 1376 [1997].
“Exploring Installation Art: A Guide to Modern Exhibitions.” Exhibition Globe. Accessed June 13, 2024. https://exhibitionglobe.com/installation-art-guide.

News / Photography / Reviews

Finding Order in Chaos: Photography, Perception, and the Art of [IN]visible Meaning

May 30, 2024

By Mona Monsefi

Mansour Forouzesh, in his exhibition, [IN]visible Meaning, depicts two collections, Fear and Comfort Zone, both ultimately presenting his philosophical approach to the definition of meaning. Fear expresses his experience of the strain on people through social media during the Covid-19 pandemic and Comfort Zone, an ongoing black-and-white project started in 2017, illustrating a critical view of city escapes. Both collections challenge the audience to observe and redefine the meanings [IN] patterns that are visible to them.

Observer, a photograph from Comfort Zone, is the most suitable photo to describe the artist’s mindset, revealing what to expect in this collection. Observer portrays floating cameras behind glass, merged with a reflection of a human figure and a building in the background. This photograph is independent of time and space. In this work, deciding who the observer is could be challenging, whether it is the human, camera, photographer, or combination. The three main elements of Observer are the recurrent themes, which are the viewer, the organic beings, and the heavy space wrapping around them. The artist presents the fast-moving time and ever-changing aspects of space in an urban environment. Each snapshot offers an effectively established composition and wrestles to freeze a moment to extract meaning. Comfort Zone constructs order in chaos and foregrounds fragile beings, naming humans and birds. Comfort Zone is an elegant union of many forms of contrasts. Forouzesh, in this collection, puts organic and delicate features in contrast with large buildings in urban spaces, creating tension between the two. These two forces push each other’s boundaries to rule the space. Sometimes, the organic elements create their own comfort zones within the concretes, as seen in the photo Surrounded, illustrating travelers in a nest-like space made of heavy architectural structures. Sometimes they are overpowered by the space and turned to concrete, as seen in the photo Prisoner, which shows a statue of a man looking up as if he is sinking. There are also moments of harmony between the organics and the urban space, as seen in Recall, showing an umbrella protruding from the concrete blocks in a Holocaust memorial and Home, illustrating a massive apartment building. In the last two examples, organics blend with metals and concretes to form comfort zones.

The photographs’ relatively minimal compositions and high contrast black and white nature eliminate the distracting elements, urging the viewers to redefine their understanding of their surroundings. The persistence in creating compositions made of solid, angular, and linear structures works well to show the swiftness of urban lifestyle in the absence of the typical elements for this purpose, such as the presence of a crowd or manipulation of the shutter speed. The various points of view also play a role in this collection. One would naturally experience these angles by walking in the city. In addition, being black and white, creates a sense of documentation, which incidentally is the artists’ primary expertise. On the other hand, the Fear collection has a fixed point of view that creates a feeling of a need for control in the viewer.

Fear illustrates a series of photographs of everyday objects being frantically sanitized to slow the spread of the Covid-19 virus in the hope of preventing contraction during lockdowns. During this time, the meanings of the ordinary phenomenon became highly individualized and politicized based on one’s personal life. Excerpts from social media accompany the artworks, warning and informing their audiences. Whether accurate or not, the news immediately affected the population and caused fear. The colored pictures of Fear resemble the images from social media, consistent with news Excerpts.

This series also has documentation and narrative quality, but it is staged. This collection, too, similar to Comfort Zone, plays with the idea of anchoring down and making sense of the surroundings by finding solace in chaos. It exhibits extremes by contrasting different textures in the images. The contrasts are both in the visual elements and also the meanings. Among the visual contrasts, the images of soft foams against the hard packaging of coffee, rice or broken eggs are noticeable. On the other hand, contrasted textures in this series can intensify the meaning as well, such as the instability of foams against a wristwatch that could convey a sense of a waste of time.

Another thing that connects these two collections is the absence of a tailored meaning that would typically put one’s mind at ease. This absence plays into one’s frustrations.

Both collections present a sense of inner dialogue and solitude as an observing outsider in a crowd. The creator of the works, similar to the viewers, is overwhelmed by the environment. They could seek refuge in the comfortable definitions or the notion that the meanings that we are used to are no longer adequate.

News / Photography / Reviews

“[In]Visible Meaning”: Pandemic, Cities, and Human Emotion

May 30, 2024

By Paula Grohn

Mansour Forouzesh’s photo exhibition “[In]Visible meaning” consists of two series of photos called “Fear” and “Comfort Zone”. The Fear series is a collection of colour photos, taken during the first months of COVID-19 spreading, each photo being presented together with a news article headline related to Coronavirus pandemic. The series is reintroducing us the early days of the pandemic, when no one yet knew what will happen and how long would it take for it to pass. Suddenly, our daily lives were filled with non-stop news coverage of Covid and questions, some more profound while some being very practical, such as if our groceries need to be disinfected, what kind of products we should store at home, if masks can be reused and if we should wash the feet of our pets the same way we are washing our hands when entering home. Although life has returned almost back to normal since then, the photo series is still current, giving us a possibility to reflect how in proportion our fears and behaviour related to it were compared to what we now know about Covid. The soap can be seen as us trying to gain back the feeling of control and reducing the amount of fear by washing everything, while the photos also manage to captivate a more serious question which was often asked during the pandemic; what and who can we trust and rely on.
The Comfort Zone photo series is rooting us back into the present moment. The series include mostly black and white photos of everyday life moments and human-built structures creating spaces in an urban environment. In this series the photographer is exploring the relationship between urban cities and the citizens. The photos are dynamic and simplistic, using the power of geometric shapes, repeating rhythmical elements and strong contrasts. Some of the photos are exhibited in pairs, creating a visual dialog between two images. At first glance the photos might remind us of social issues in large cities, but also different explanations can be given. While one viewer sees a huge apartment building with thousands of inhabitants as a dangerous and suppressing environment to live in, another one feels nostalgic because she lived a happy childhood in a similar place, and while someone might consider a person sitting by himself at the train platform as lonely, another one might congratulate him for being able to take a moment for himself. It would be simple to explain the differences in interpretations with different perspectives. What we could ask ourselves instead is, what do we find resonating in the photos and what it can teach us about ourselves. After all, these could be core questions to reveal invisible meanings.

Article / Film Reviews / Reviews / Reviews

A Few Knots Away: An Emotional and Abstract World | by Vahid Nami

June 30, 2023

Interview with Mansour Forouzesh about A Few Knots Away by Vahid Hosseini-Nami

Interview with Mansour Forouzesh about A Few Knots Away
Source: Iranian Short Film News Agency

April 19, 2019

Vahid Hosseini-Nami:
Mansour Forouzesh is a talented and energetic filmmaker, best known for his film Hose (Shilang) and its multiple appearances at international festivals, as well as for serving as a jury member at a festival in Portugal. For the past two years, he’s been working on his latest film, A Few Knots Away.
I met up with Mansour on a lovely spring afternoon at a cozy café tucked away near Karimkhan to chat about the film.

Where did the initial idea for A Few Knots Away come from? What connected it to or separated it from your previous film, Hose?
The idea for A Few Knots Away came about almost by accident. I had traveled to Hormuz Island at the time, and the atmosphere there captivated me immediately. More interestingly, before the revolution, access to Hormuz Island used to be extremely difficult. While I was there, I met an experimental painter who, as a young man, had escaped the island by swimming.
His energy and the experience of living on the island inspired me to imagine a story within that environment. There are also nearby islands with contested claims over them—claims that inevitably affect the lives of the locals. Places like that exist all over the world—like Kashmir, which has long been disputed between India and Pakistan. That feeling of being caught in between, of existing in the middle of a conflict, gave me the urge to write a story set in that kind of emotional space.
I had already moved on from Hose; it had been finished for some time. With our limited resources, we tried to screen it around the world. But honestly, Hose, with its single location and indoor setting, was never quite satisfying for me. I made it to prove to myself that I could do it.
But for someone like me—who doesn’t like to sit still—making a film in just one location feels like living in a box. I believe film characters should be able to travel, to move freely.

Did the screenplay come from the story or the characters? Was the plot or the character resolution more important to you?
Honestly, neither. Writing and constructing A Few Knots Away was more of a tangible emotional process for me. I was more interested in visualizing the abstract feeling I had about people in situations like those in the film.
As someone who’s naturally inclined toward storytelling, this wasn’t easy. It’s not simple to both tell a story and convey emotion in just 15 minutes. I can’t say how successful I was in terms of narrative, but I can say with certainty that the emotional tone in the film is exactly what I intended.
It’s a feeling of longing, of stubbornness—something our generation understands well.
While writing and shooting the film, I constantly listened to a specific piece of music. I even played it during the shoot. We must have listened to it over a hundred times. Thanks to that music, the entire crew knew exactly what I was feeling and what we were trying to convey. The actors were completely aligned with that emotion, and they gave it their all.

The film leans toward a kind of magical realism, with its shifting, almost dreamlike locations. It reminded me of Hashem’s exhausting effort to drag a body along the shore—stretching endlessly. How much of that world was in the script, and how much came from your visual structure?
I’m an emotional person, constantly thinking about moments that could be created, shaped, and crafted.
You mention magical realism—perhaps because I tried to translate pure emotion into images. As I said earlier, emotion mattered more to me than plot. The script had a somber narrative structure, but I deliberately broke away from realistic storytelling, creating something more abstract and emotionally true.
To achieve that, I decided to let go of the constraints of place. The emotion I was pursuing actually encouraged me to escape geography. When you look at both together—the feeling and the dislocation—you start to understand what the film is doing.
A Few Knots Away doesn’t portray a real world; it depicts a true world—an emotional, abstract one.

The story is about choosing between a better life elsewhere and staying rooted in tradition. How much of that comes from social reality or your personal concerns and those of your generation?
Our generation has always been caught between staying and leaving. And I don’t just mean leaving the country. Different events have forced many of us into this liminal state.
Migration in our time wasn’t just moving from Ahvaz to Tehran or from Mashhad to Bandar Abbas. It was distancing ourselves from places where we simply couldn’t survive.
This feeling hasn’t gone away. Many of our families relocated because of war, economic pressure, work, education—you name it. We constantly saw their longing and emotional attachment to what they left behind.
But there was no choice. It had to happen. I think our generation deeply understands the emotional contradiction—the ache and the attachment—that lies at the heart of A Few Knots Away.

Despite its predominantly masculine world, the film begins with Atiyeh’s voiceover. Her presence, especially at the start, adds a sense of hope and life in the confined world of the island. Is Atiyeh the central narrator? How much of the story is told through her memory of her brother?
Atiyeh plays several vital roles in the film. Some are technical—related to the narrative structure. But the most important role she plays is the one you mentioned.
Atiyeh expresses exactly what the entire atmosphere of the film is trying to say. Nature, the people, the sea, the sky—they all speak through her.
Her feminine, sisterly perspective becomes the soul of the film, giving voice to the waves, the birds, and the landscape itself.
To me, Atiyeh isn’t just part of the film. She is the film.

What kind of cinema are you personally drawn to? Structurally and visually, where would you place A Few Knots Away in relation to your cinematic tastes?
To be honest, I still don’t know what kind of cinema I love most. Not because I’m confused, but because my feelings are always evolving.
What I do know is that I want my films to reflect who I am—to match the emotions that live inside my head.
The way I visualize and express things will probably become clearer over time.
I don’t know what’s next, but I do know that whatever I make, I want it to be its own thing—authentic to itself.

Did this experience bring you closer to the kind of cinema you want to pursue?
Definitely. The challenges we faced while making this film taught me how to make a film that’s truly mine—and still gets made.
A Few Knots Away came straight from within me. Through this project, I learned how to love my films.
I still carry the characters of this film with me—people whose circumstances are misunderstood.
This film pushed me toward a direction that feels more truthful, even though it’s further from commercial cinema.
And I’m happy about that.
I make films because I love to, and because I believe it’s the best way I can express my emotions.
With A Few Knots Away, I’ve done that more effectively than ever before.

Any final thoughts—something you didn’t get to say earlier?
The production conditions were incredibly demanding, largely due to the perfectionism of both myself and Ali Kazemi, our cinematographer.
For a 15-minute film, scouting locations in both the southernmost and northernmost parts of Iran was no easy task.
The contrast between the environments was huge. But the team not only supported my ideas—they contributed their own.
We spent a week in Bandar Anzali, studying three months of weather forecasts to find the right conditions.
Then a week of filming on Hormuz Island, plus two days at a film set, with a crew of around 60 to 70 people involved.
It was no small feat. But by God’s grace and with the help of everyone involved, we pulled it off.
Even now, I feel embarrassed when I think about how cold it was in Anzali—how the actors’ feet froze.
Or how we took a 14-hour train ride from Bandar Abbas to reach Hormuz.
But it all came together.
And every moment of it has become a memory I’ll carry with me for the rest of my life.

Article / Film Reviews / News / Reviews / Reviews

Review | The Tragedy of Living in a Limbo

August 10, 2022

By Seyed Reza Saeemi – Film Critic

A Look at the Documentary Lost Whispers in the Distance
[This article was published on the Iranian IRAN newspaper 10th August 2022] Link to the article: Full article in Persian

Lost Whispers in the Distance may have a poetic title for a social documentary, but traces of tragedy are evident in it—revealing the film’s perspective on the subject of migration. Migration, which today is transitioning from being an exception to a widespread phenomenon, inevitably brings with it a broader range of consequences. Clearly, “migration” is not inherently a negative term or action—in fact, even religious sources sometimes emphasize its necessity and positive functions. However, this documentary focuses on a type of migration rooted in unrealistic and ill-considered dreams, which, contrary to the migrants’ hopes, turns from a liberating experience into one of captivity.

Although economic hardship and livelihood crises are the primary drivers behind the rising desire to migrate in our country, equally significant are the misinformation and fantastical dreams about life beyond the borders. These illusions lead migrants into naïve expectations that often result in hardship and peril—as shown in the documentary, where they are left stranded with no place to belong. The destination becomes not a better life but a state of confusion and disillusionment.

Lost Whispers in the Distance approaches the subject not abstractly but with a concrete, grounded focus on people who now live in the limbo of migration. They have fled their homelands without reaching their destination, suspended in uncertainty on the soil of a transitional country, enduring harsh and unstable living conditions. “Jafar” and “Mozaffar” are the main characters through whom we come to know the precarious and unsettled lives of migrants in Šid, Serbia—people who arrived through illegal immigration and human traffickers and now face an uncertain future.

The film opens with a city road sign on a winter highway and ends with a frame of displaced migrants trekking through snowy paths toward Europe. These two snowy, wintry scenes are symbolic indicators of the bleak, cold reality these migrants face—experiencing lives marked by hardship and ambiguity. In the closing credits, we learn that not only did these migrants fail to reach their destination, but some were also arrested by Croatian police and transferred to a refugee camp in Šid, Serbia—a bitter and uncertain fate intertwined with homelessness and displacement.

The documentary presents stark and disturbing images of these migrants’ lives—many of whom are from Afghanistan—living in half-constructed buildings with minimal facilities. If we think of migration as having three parts—origin country, the journey, and destination—the film focuses on the middle ground of this process: the transitional journey and the temporary halts along the way. It captures the tragic limbo in which migrants find themselves. It’s as if the camera, too, is one of the migrants—caught in this uncertain, disoriented state and reflecting it through the film’s mise-en-scène.

In essence, the film portrays the lives of a group of Iranian and Afghan asylum seekers in a small Serbian town, all hoping to cross into Europe for a better life. These refugees speak about the future they imagine for themselves. The filmmaker deliberately maintains emotional and narrative distance from the subjects, avoiding the imposition of personal judgment—allowing the images and interviews to speak for themselves and present the truth.

In this sense, the film becomes a visual report on the legal and illegal refugee camps in Serbia, documenting these conditions as a kind of cinematic evidence, conveying the logic and reality of the documentary form. The film’s narrative style and camera perspective ultimately produce a visually painful atmosphere, evoking the sorrow of exile—a feeling the audience can deeply experience through the scenes.

Perhaps the most important feature of Lost Whispers in the Distance is its refusal to judge or take a clear position toward its subjects. Instead, it adopts a reportage tone, allowing the gap between the dream of migration and the reality of it to emerge organically through the images and interviews—without the use of narration. This artistic strategy enhances the film’s credibility and documentary logic.

Ultimately, Lost Whispers in the Distance uses an observational approach to speak about the suffering and misunderstandings surrounding migration. It persuades through truthfulness, not exaggeration.

Article / Film Reviews / News / Reviews

Review | The Story of the Storm and the Mismatched Children

August 10, 2022

A Look at the Film Lost Whispers in the Distance
By Alireza Naraqi – Journalist (instagram: @alirezanaraghi )

[This article was published on the Iranian Hamshahri newspaper 10th August 2022] Link to the article: Full article in Persian

Lost Whispers in the Distance, directed by Mansour Forouzhesh, is a documentary that makes its stance clear to the viewer from the very first shot. The subject of the film is so significant that we are immediately immersed in its world through its opening visuals and intertitles. In recent years, illegal immigration and asylum-seeking have been among the major global challenges, encompassing political tensions within the international order, wealth distribution issues, and local, economic, political, and environmental conflicts.

Migration has always been one of humanity’s age-old options for changing conditions and striving for a better, more suitable life. Escaping one land to start anew elsewhere—regardless of the motive or necessity—has recurred throughout human history so often, and influenced our biological and communicative networks so deeply, that it almost resembles a kind of ritual. Even in religious texts and traditions, migration is recommended as a way to ease suffering and sustain life.

On the other hand, the growth and development of human societies as we know them today are the results of such migrations and the racial and national intermixing they’ve caused. Every form of displacement involves both destruction and construction. The past is left behind, and a new world and encounter are forged. Uprooting and migrating are akin to death and rebirth—an existential crisis that disrupts the familiar fabric of life. This means that the recognition and identity of a person, which take shape in relation to others, are also disrupted. Uprooting, then, equates to a form of emptiness, and in the new setting, this broken identity must be rediscovered and rebuilt.

Given this, it’s evident that identity crisis is one of the main consequences of migration. In this context, Lost Whispers in the Distance explores illegal migration—a situation in which the loss and rebuilding of identity are even more intense, tied closely to the erosion of human dignity. The perilous paths, the gamble on life and possessions, life in group camps, displacement, entrusting one’s safety to human traffickers—all these factors, alongside the inherent struggles of uprooting, destroy personal dignity. The undocumented asylum seeker engages in a kind of self-erasure and self-destruction to make escape possible and be reborn under new circumstances.

But the storm of escape births mismatched children.

Forouzhesh’s camera, in its portrayal of the geography and condition of asylum seekers in the camp, depicts this loss of dignity and fundamental humiliation without judgment and within the fabric of reality. A line of despair runs through the eyes and words of the film’s subjects; it’s as if displacement has transformed from a chapter in their lives to an unalterable destiny.

In Lost Whispers in the Distance, the filmmaker achieves two key things: first, he approaches both the people and the subject without judgment, and second, he maintains a balanced distance in that closeness. Although he asks his human subjects why they chose illegal migration and whether they regret it, he never lets these questions slide into judgment—because to judge is, in itself, to belittle the circumstances of the film’s subjects. And this is precisely what the film aims to avoid. Instead, it strives to depict the inherent dignity that has been overlooked—and that is the documentary’s greatest success: restoring dignity.

The film’s perspective remains firmly in the realm of observation, and when dealing with a subject of this gravity and inherent drama, even observational documentary takes on an activist role. Thus, while Lost Whispers in the Distance remains observational and faithful to its principles, it is not passive. The very act of framing this reality through the chosen structure is itself a form of activism.

Another notable aspect is the distance the camera maintains from its subjects. Except for a few carefully chosen moments, the film avoids emotionally manipulative, individual-focused sentimentality. The people are shown in context, and within the scope of a collective and universal issue. The imagery is clear and precise, approaching its subjects only as much as needed to convey the broader narrative of illegal immigration and raise awareness. Therefore, instead of focusing on individual experiences, the film highlights human behavior within its social setting—this is what gains significance.

The reality depicted in the film is deeply bitter and impactful. Yet rather than dramatizing the tragedy, the filmmaker visually reflects this bleakness and cold atmosphere. The film’s muted, cold visual tone ensures that even in daylight under the sun, the imagery leans toward darkness, evoking an endless night. Coldness plays a key role, intensifying the sense of vulnerability and helplessness throughout the film. This is why the film’s visual emphasis on snowy landscapes significantly enhances its emotional resonance.

Article / Film Reviews / Reviews / Reviews

Review | Lost Whispers in the Distance: Honest, Noble, and Impactful

June 25, 2022

By Abbas Karimi
June 25, 2022
Source: Jam-e Jam Newspaper

Lost Whispers in the Distance, a documentary by Mansour Forouzesh, carries a poetic title that primes the viewer for a lyrical, impressionistic experience. Yet, within minutes, it reveals itself as an observational documentary — journalistic, sincere, and neutral — offering a clear-eyed look at the phenomenon of asylum-seeking and illegal migration.

The film examines the asylum crisis through various cases and, after presenting a range of factual and emotional material, subtly concludes that most attempts at asylum fail — and that the voices of these individuals remain unheard, like distant whispers far from home.

Structured with a parallel yet chronological approach, the director builds his narrative using the following elements:

Verified statistical data presented in text;
Firsthand experiences from migrants, primarily through interviews that form the film’s emotional core;
Observational scenes of daily migrant life, evoking joy, sorrow, rage, and hardship;
Recorded phone calls with a human trafficker explaining how to cross borders illegally.

Also responsible for editing, the director assembles this material with intelligence and restraint, avoiding narrative fatigue by maintaining variety in structure. However, what’s notably absent — perhaps intentionally — is any glimpse into the daily lives of ordinary citizens in the host country. Including such scenes could have deepened the film’s impact by allowing viewers to contrast the bleakness of camp life with a more normalized existence outside.

Shot largely with a handheld camera in a spontaneous, unstructured style, the film captures its subjects in real time — a necessity given the unpredictable and often tense settings. The opening static shots of the camp’s cold, desolate spaces effectively convey the inertia and gloom that defines daily life for its residents.

Due to its raw documentary style and observational tone, the film uses minimal music — a choice that aligns with the subdued mood of the camps. Still, the bleak atmosphere rarely demands more sonic embellishment.

Some interviews, particularly with individuals who struggle to articulate themselves, can feel long or repetitive. This repetitiveness is intentional — an editorial choice to emphasize the shared nature of these experiences — but at times it edges toward monotony. Occasionally, the film feels more like a radio report than a visual narrative. In such moments, inserting cutaway scenes of urban environments or daily life could have revived the pacing and added visual variety.

Viewed as a whole, Lost Whispers in the Distance is an honest, dignified, and deeply affecting film. With a few more scenes or added layers, it might have reached even greater artistic and emotional resonance. Nonetheless, it remains an essential and educational watch for all audiences.

— Abbas Karimi Abbasi, poet and critic

News

“Lost Whispers…” ranks among the top 10 Iranian documentaries of 2021 by FIGAR

March 10, 2022

March 10, 2022 – 13:45
Written by: Hadiseh La’ali

In this article from Figar, we’re diving into the world of documentaries to introduce you to some of the best Iranian documentaries. Join us as we explore this captivating genre.

You might think that documentaries only appeal to the older generation, like our grandparents, but that’s not the case. Documentaries, except for those with distressing content not suitable for all ages, generally have no age restrictions.

This means that if you don’t enjoy watching documentaries, it might just be because you haven’t come across the right ones yet. To connect better with this genre, we recommend checking out the top documentaries as rated by the public and critics, available on Figar’s website or other online platforms.

If you’re not interested in foreign documentaries or have seen enough of them and are now seeking the best homegrown content, stay with us until the end of this article. We will provide you with a list of the top Iranian documentaries.

A Glimpse at the Top Iranian Documentaries:

Khatemeh
Asho
In the Neighborhood of the Moon
Isatis
Lost Whispers in the Distance
Gharshlagh
Where the Wind Blows
Bazk
Ten Brothers
Raphael
Time
Anthrax
Cry in the Wind
No Place for Angels
Ten
The House is Black
The Suspects of the 20th Circle

Before we dive in, let’s clarify what documentaries are. As the name suggests, documentaries are moving images created based on factual evidence, not inspired or adapted from fiction, but rather presenting a slice of reality itself. Many documentaries are produced and screened every year, gaining a substantial following due to their reflection of real life.

Documentaries come in various styles, including romantic, newsreel, realism, propaganda, hybrid films, modern documentaries, and wildlife. With such diversity, documentaries appeal to a broad audience across different demographics.

Let’s delve into some of the best Iranian documentaries from recent years, including the top documentaries from 2021.

Khatemeh (The Zarei Brothers)

“Khatemeh,” directed and written by Mehdi and Hadi Zarei, is the first on Figar’s list of the best Iranian documentaries. Produced in 2019, this 89-minute documentary took the Zarei brothers three years to complete. It was worth the wait, earning 12 nominations at various festivals, and winning 2 awards for Best Director and Best Editing at the Cinéma Vérité Festival in Tehran, as well as 1 award for Best Documentary Film at the Florence Film Festival.

The story revolves around a young Afghan girl forced into an early marriage due to family pressures. Unable to bear the harsh treatment from her family, she decides to flee and seeks help from the social emergency services in Shiraz. However, the story doesn’t end there. After her family pursues her, her brother forces her to return home under threats. To avoid being sent back to Afghanistan, she gives up her request for a divorce, marking the beginning of a challenging journey.

Asho (Jafar Najafi)

“Asho,” the second documentary we explore, is directed by Jafar Najafi and has won numerous prestigious awards, including those from DocuMenta and Amsterdam. The film tells the story of a young shepherd boy with dreams of becoming an actor. The highlight of the film is the discovery of Asho’s unique personality, which Najafi masterfully portrays.

In the Neighborhood of the Moon (Reza Farahmand)

Directed by Reza Farahmand, “In the Neighborhood of the Moon” was unveiled at the 2021 Hot Docs Canadian International Documentary Festival. The film captures the daily lives of a war-torn family in a hospital in Aleppo, focusing on a teenage nurse named Julie.

Isatis (Alireza Dehghan)

This 2019 production by Alireza Dehghan is among the best Iranian documentaries of 2021, though it is yet to be released. “Isatis” narrates the story of hands that transform worthless soil into something as valuable as alchemy, showcasing the ancient city that has endured for centuries like a jewel in the desert.

Lost Whispers in the Distance (Mansour Forouzesh)

The fifth entry on our list, “Whispers Lost in the Distance,” is directed by Mansour Forouzesh. This 60-minute documentary explores the situation of Iranian and Afghan refugees in Serbian camps.

Gharshlagh (Reza Gholami Motlagh)

Directed by Reza Gholami Motlagh, “Gharshlagh” examines an ancient Turkmen tradition that, unfortunately, still persists and has devastated many lives. The film presents a clear picture of this destructive custom and its impact on society.

Where the Wind Blows (Mina Mashhadi Mahdi)

This documentary by Mina Mashhadi Mahdi tells the story of photos, letters, and memories from a once-thriving village that was abandoned due to drought. It captures the lives of those who were forced to migrate.

Bazk (Shiva Sanjari)

Directed by Shiva Sanjari, “Bazk” follows the life of a young woman working as a hairdresser. Through her conversations with clients, the film reveals the struggles of women in society, highlighting the injustices they face.

Ten Brothers (Mohsen Alidadi)

In “Ten Brothers,” directed by Mohsen Alidadi, the filmmaker documents the lives of ten brothers, seven of whom are struggling with addiction. The film follows one of the brothers who attempts to rescue the others from their dire situation.

Raphael (Rashad Moradi Balf)

“Raphael,” directed by Rashad Moradi Balf, tells the story of a sunken ship in the Persian Gulf that has become one of the largest artificial marine habitats. The ship, once a luxurious vessel with nine floors and six swimming pools, is now home to a vast array of marine life.

Time (Maria Mauti)

“Time” is the story of a man who, after migrating to Turkey with his family and seeking asylum there, plans to move to Canada. However, unforeseen events force him to separate from his family, altering his path.

Anthrax (Sajjad Imani)

This 60-minute documentary by Sajjad Imani follows several young men who see life beyond their homeland’s borders. In desperate need of money to leave, they stage accidents to collect insurance payouts, risking everything to achieve their dreams.

Cry in the Wind (Siavash Jamali, Atta Mehrad)

“Cry in the Wind” chronicles the journey of 17-year-old Meysam, who dreams of becoming a singer. The documentary showcases his determination to overcome obstacles like family opposition and lack of resources in his neighborhood.

No Place for Angels (Sam Kalantari)

“No Place for Angels” by Sam Kalantari tells the story of the formation of the Iranian women’s national hockey team. It highlights the struggles and determination of these athletes, making it a compelling documentary.

Ten (Abbas Kiarostami)

This 60-minute documentary, narrated by Abbas Kiarostami himself, offers insights into the world of filmmaking as he drives and reflects on his experiences. It’s a must-watch for those interested in film and filmmaking.

The House is Black (Forough Farrokhzad)

An iconic documentary by Forough Farrokhzad, “The House is Black” is a poignant portrayal of the lives of leprosy patients in a leper colony near Tabriz. The film, which has won numerous awards, powerfully conveys the isolation and suffering of these individuals.

The Suspects of the 20th Circle (Hesam Eslami)

One of the best Iranian documentaries, “The Suspects of the 20th Circle” follows a group of young thieves as the filmmaker secretly captures their operations. The film takes you from the moment they meet to the theft itself, and eventually to the arrest and aftermath of their actions.

News

“Lost Whispers in the Distance” explores refugee misery in Europe

September 20, 2021

Tehran Times newspaper

September 20, 2021

Source: https://www.tehrantimes.com/news/465283/Lost-Whispers-in-the-Distance-explores-refugee-misery-in-Europe

TEHRAN – In his latest documentary “Lost Whispers in the Distance” Budapest-based Iranian filmmaker Mansur Foruzesh has turned the spotlight on the hard lives of refugees in Europe, particularly those who are Iranians.

To make this documentary, which was financed by the Sureh Documentary Film Center of the Art Bureau of the Islamic Ideology Dissemination Organization, Foruzesh had to negotiate with 15 countries, and only one—Serbia—allowed him to visit a refugee camp located in the northwestern city of Šid.

“The atmosphere within the camp was like something from fifty or sixty years ago; it did not have much in the way of facilities. Over the three weeks I spent making the film there, seven refugees died,” Foruzesh said in a meeting held at the Mehr News Agency in Tehran on Saturday to promote his film.

He said that one of the refugees was electrocuted while hiding himself under a train enroute to Serbia, while another Iranian refugee had frozen to death while attempting to walk to Europe in the harsh winter cold.

“The conditions were much worse in an Afghan refugee camp. Just as we arrived at the camp, one of the refugees beheaded another. Nerve-racking tension totally dominated the atmosphere of the camp, however, in ‘Lost Whispers in the Distance’, I avoided any prejudice and I did not want to convince someone to do something,” he added.

Foruzesh said that opportunities to solve problems are missed in Iran due to the attitudes of officials to politicize issues.

“We are faced with barriers when we make a film. They tell us, ‘You are not allowed to cross these barriers. Consequently, the film is limited in scope and only a small segment of a formidable issue can be examined. Meanwhile, our society has shown a great capability for understanding, and we live in an era in which we should respect critical perspectives,” he noted.

Mansour Forouzesh | photo by Ali Hadadiasl

Foruzesh has asked the Art Bureau to provide some arrangements for relevant officials to watch the documentary.

“I have repeatedly requested the officials to demonstrate concern over the refugee issue and increase their knowledge about the problem,” he said.

“There should be a strong collective will to tackle the issue and find a solution. It’s not my duty as a filmmaker to offer a solution to the issue; I’m not a social reformist. I’ve simply raised the issue of refugees with people,” added Foruzesh, who is also the director of the short dramas “When I Killed the Cat” and “A Few Knots Away”.

Former Foreign Ministry spokesman Hamidreza Asefi, who also served as Iran’s ambassador to the U.A.E., Germany and France, also attended the meeting.

In his speech, he pointed to the difference between the meanings of the words “refugee” and “immigrant.”

“There are numerous Iranian people living abroad as immigrants, many of whom are the honor of our country. There are numerous Iranian physicians, businessmen and students who have chosen to live abroad,” he said.

“Although we would prefer that they live in Iran, they nevertheless have chosen to live outside the country, and hence, they are not refugees,” he noted.

Asefi listed high unemployment, higher cost of living and discrimination in Iran as factors that cause people to leave their homeland. However, he noted that many of the people who immigrate find the destination country to be drastically different from “the dreamland” they had anticipated in their imaginations.

Producer Seyyed Mohammad-Mehdi Dezfuli said, “Due to the higher cost of living in the country, many Iranian people leave their homeland and sometimes they fail to find their dreamland or live in conditions much worse than those that they had experienced in Iran.”

He expressed his hope that more films would be produced about refugee life to raise people’s awareness of the issue.

Photo: Filmmaker Mansur Foruzesh autographs a poster for “Lost Whispers in the Distance” in a meeting held in Tehran on September 18, 2021 to promote the documentary. (Mehr/Ali Haddadi-Asl)

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