Directed by Eran Riklis and written by Marjorie David, based on Azar Nafisi‘s memoir, follows the true story of a literature professor in revolutionary Iran who, amidst censorship and religious extremism, gathers seven of her most dedicated female students to immerse themselves in banned literary classics. Starring: Golshifteh Farahani, Zar Amir Ebrahimi, Mina Kavani, Bahar Beihaghi, Isabella Nefar, Raha Rahbari and Lara Wolf.
Undoubtedly, it’s easy to see why any filmmaker would want to adapt Azar Nafisi’s story, it’s one of resounding resilience and rebellion. As well as highlighting the hardships which women have, and continue to, face in Iran. Reading Lolita in Tehran hits you hard and fast with that misogyny and makes itself quickly, and intentionally, infuriating. However, Eran Riklis and Marjorie David only truly capture a fraction of the cruel, harsh landscape.
That’s really the key problem with Reading Lolita in Tehran, it has great intentions but it’s as if it’s sanitizing this story, adding a touch of sentimentality which invasively undercuts the tone. Especially because it becomes a part of the film both visually and tonally, which ultimately holds it back from being impactful. It only scratches the surface of a conversation about Iranian women’s internal conflict of attempting to hold onto their religious beliefs and faith, in a time when they are used to oppress them. The same could be said for its attempts to delve into mental health, and abusive relationships, it’s trying to hit so many topics and only dipping its toes into each of them.
Part of that is because it’s trying to also spread its story between the characters. While Golshifteh Farahani’s Azar is at the forefront, a lot of the key themes are explored with her students instead. So, when Azar has so much of the focus, it’s hard to give the others the space they sorely need. It’s especially a shame because of how much potential each of them had to create a devastating story. Zar Amir Ebrahimi being the brightest spark of that potential, her key monologue is incredibly moving, it’s an exceptional performance. She’s a wonderful actress, and she has so much to add but she’s limited here.
There are also other problems with the progression, it moves in a strange manner, skipping through different parts of the timeline without clear definition. It can also move a little slowly at times and let itself sit quietly in the moments which aren’t quite as important. You can also sense the filmmakers imparting how important the ending is, but in actuality it feels lacklustre.
Reading Lolita in Tehran has admirable intentions but softens its execution far too much. This could be a powerful story, if it took risks and dove headfirst into the harsh nature of the situation. Instead, it holds back which does a disservice to the terrific cast, it would have been wonderful to see how far Zar Amir Ebrahimi could have taken her performance, given enough screen time to reach its true emotional heights. They capture the enraging nature of a patriarchal regime, but it falls well below capturing the real cruelty at work.
FilmCarnage.com 