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For Iranian director and co-writer Cyrus Neshvad, bringing the story of The Crimson Suitcase to life was a matter of urgency. The movie follows the harrowing journey of a 16-year-old Iranian woman as she makes an attempt to flee an airport undetected by the person that she’s been despatched off to marry. One of many quick’s most instrumental scenes entails the woman eradicating her hijab for her security, but additionally on the detriment of defying her tradition. Contemplating the well timed launch of his quick movie coinciding with the latest female-led anti-hijab protests in Iran, Neshvad explains, “I don’t need the film to be political. I simply needed to present this message that we must be free to do what we would like… after I did this film, I mentioned, ‘I desire a girl who has the selection to take this off, even when it’s for her freedom, for her free will.’”
Right here Neshvad discusses freedom for Iranian girls, the significance of expression, and the symbolism behind The Crimson Suitcase.
DEADLINE: What was the inspiration behind making this quick movie?
CYRUS NESHVAD: Throughout one dinner, my mom, who’s related with Iran as a result of we have now half of our households nonetheless dwelling there, talked about that ladies are disappearing for a ridiculous motive typically as a result of their hijab [is considered to] not be [a] good [way to wear it], or they are saying one thing which isn’t accepted in order that they’re simply disappearing and so they had been by no means showing again. So, for me, this was scary data. And this was again in 2020 when no one was speaking about this; I used to be terrified. So, I mentioned, “I actually need to do one thing about it,” as a result of it’s additionally my dwelling nation. So, I made a decision to speak about this, even when it’s in a brief film. After which I made a decision to have this woman, an Iranian woman with a hijab on her hair. And that was the start of the story.
DEADLINE: One of many movie’s most instrumental scenes entails the primary character eradicating her hijab, which, as you talked about, there are lots of circumstances the place girls can go lacking or get killed for arbitrary causes. Are you able to discuss additional concerning the influence of this scene? And what has the expertise been like in your house nation because the quick’s launch? Can it play on the Tehran Worldwide Brief Movie Competition?
NESHVAD: Initially, since this film got here out, it received extra visibility as a result of it was nominated for the Oscars. So, I received messages on-line and social media threats. It [couldn’t be] proven in Tehran as a result of it’s being thought of as an anti-Iranian film and anti-Islamic, so I’ve received some threatening stuff there on social media. I don’t assume any competition in Iran, even when they had been for the film, will present this. Everyone desires to be removed from this film in Iran as a result of, in case you are near this film, you’ll get issues. They’re already circulating that Cyrus Neshvad is anti-Iranian.
DEADLINE: How are you dealing with that stress?
NESHVAD: I imply the film; I don’t need the film to be political. I simply needed to present this message that we must be free to do what we would like. We must be free to put on the hijab; we must be free to not put on it. But when we aren’t carrying it, it shouldn’t be damaging. And proper now, the state of affairs in Iran is like, it’s important to put on a hijab. The hijab means quite a bit in Iran; it’s an indication of the domination of the person, the domination of the patriarch, domination of the girl to serve. Domination that the person is allowed to have few girls. Domination that the girl wants the consent of the person to do one thing.
[For example] when there’s a gathering, all the boys are allowed to sit down on chairs. The ladies have to sit down on the ground. I’ve images I may present you; they had been in a gathering and taking notes whereas kneeling on the ground as a result of they aren’t allowed to sit down within the chairs. So, for immediately, the revolution in Iran is occurring slowly; it’s a revolution introduced by girls. The ladies mentioned, “We, as a protest, we don’t put on it anymore.” And on this scene immediately, it’s crucial, as a result of after I did this film, I mentioned, “I desire a girl who has the selection to take this off, even when it’s for her freedom, for her free will.” And immediately, it’s received a fair larger message for what is occurring in Iran.
DEADLINE: Within the quick, we solely get a glimpse of her relationship together with her dad. He appears genuinely apprehensive about her by the tip, however it’s additionally implied that we is likely to be unable to belief him. What precisely is their bond? And what had been you and co-writer Guillaume Levil attempting to get throughout right here?
NESHVAD: It is a state of affairs during which we’re with a woman we don’t know, however I don’t assume it’s a matter of belief or not belief. It’s a matter of she understood her father can also be a patriarch. It’s part of this custom. If she needed to be free, she [realizes] that she has to get out of there. It’s not even about household, however reasonably the custom. Even when she goes again [home], the custom is not going to change. So, the message behind that is if you wish to be free will, she needed to get out of this patriarchal custom. That’s why you see that second when she cuts off her cellphone to disregard his messages, so she may select to be free. And the liberty you get for such a worth? For dropping every little thing, dropping this pink suitcase, which was her coronary heart. Dropping her household, dropping her solely cash. She has nothing anymore, however she has the free will, and that’s crucial factor.
DEADLINE: Wait, wow, the suitcase represents her coronary heart?
NESHVAD: Sure. Once I constructed the within of the bags, I mentioned, “What she may have inside that might additionally characterize her coronary heart?” I needed to have the within be very tender and delicate. She’s received tissue and paints a bit, so she has her drawings, a guide, and even [Iranian] Pistache, which may be very well-known, particularly when Iranian persons are going overseas. So, she has all these tender issues. And when [the suitcase was packed], I went to the primary actress [Nawelle Ewad] and mentioned, “Look, that is your coronary heart now; how will you carry it?” And he or she needed to place it on the ground. I mentioned, “No, it’s not actually baggage; it’s your coronary heart.” And he or she didn’t actually know, however then I steered to carry it the way in which that she does within the film, near her chest as an alternative of on the ground. The suitcase can also be pink, the colour of the guts.
I needed to have this concept of the movie be the tenderness of this woman together with her tender baggage, this pink suitcase. And I would like folks to take this with them of their hearts additionally.
[This interview has been edited for length and clarity]
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