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September 2, 2010

WELT ONLINE: Mr. Panahi, you were inivited to the Venice Film Festival for your movie “accordion”. But you could not leave Iran. For what reason?

Jafar Panahi: Ten months ago my passport was confiscated so that I can no longer travel abroad. However, I had high hopes of being able to come to Venice. And even up until Wednesday I had hoped to get my passport back and I had packed my suitcase and then I found out that could participate in the Biennale.

WELT ONLINE: Who tells you what is prohibited to you and what is not?

Panahi: Six months ago, my lawyer spoke to the judge. The judge recommended to my lawyer that it would not be wise to ask for my passport to be returned but we were able to contact some officials, however so far it has gleaned no results.

WELT ONLINE: What triggered the confiscation of your passport, that effectivelly allowed you to attend the Berlinale in February, and not Cannes in May?

Panahi: It all started with the fact that I was invited in September last year to the “Festival des Films du Monde” in Montreal where I was wearing a green scarf …

WELT ONLINE: … the symbol of the freedom movement in Iran after the obviously rigged presidential elections in June 2009.

Panahi: After my return to Tehran, I had planned to do more traveling. In mid-October, I was scheduled to fly to Paris for a project, then to Bombay, where I was invited as a jury member. But on the day that I wanted to go to Paris, my passport was confiscated at the airport, without any explanation, without even saying a word. I was just handed a note that essentially instructed me to appear at  the “stone building” – where the offices of the leaders of the Islamic Republic are located. From there I was referred directly to the Revolutionary Court.

WELT ONLINE: Were there any charges brought against you – and above all: why?

Panahi: They said nothing about any charges and in fact they never said anything concrete for that matter. In reality I was just being held up until I was arrested in March while I was shooting. The film I was making mentioned the recent events in Iran, the presidential election and the subsequent unrest. I wanted to paint a portrait of a family whose son is arrested in the riots. I was making the film with a the young director Mohammad Rasoulof.

WELT ONLINE: What were the circumstances under which you were arrested?

Panahi: A number of men stormed my house and arrested everyone present – a total of 17 persons. Among them was both the film crew and my wife and my 20-year-old daughter. After two days all were released. Rasoulof was only released three weeks later, and I remained in prison until further notice.

WELT ONLINE: You were being held in Tehran’s Evin prison …

Panahi: Yes, the entire time. The first 14 days I was in solitary confinement, after which I was merged with three others in one room. But actually they had removed the wall between two solitary cells, and stuffed the four of us in that room.

WELT ONLINE: Did they tell you what the reason for your arrest was?

Panahi: At the time of my arrest they said nothing. In prison, I heard them mention something. They began from the interviews that I had given, to the film, I wanted to make.

WELT ONLINE: How can you accuse a film that is not yet finished?

Panahi: This was exactly my question.

WELT ONLINE: What happened to  you in Evin?

Panahi: The detention was a bitter experience.

WELT ONLINE: Were you tortured?

Panahi: No, there was almost no physical contact. Once I was accused of trying to film the cell – then I was subjected to a body search and then I was forced to stand outside, stark naked for hours in the freezing cold. But it would be better if we talk less about my time in prison.

WELT ONLINE: How were you able to stand it in prison?

Panahi: Every time I was on the phone with my family, I mentioned a few things.

WELT ONLINE: In May, during the Festival in Cannes, where you were sorely missed, you announced that you were going to go on hunger strike. How then did your release come about?

Panahi: There were two things that accelerated my release: my hunger strike and the solidarity of colleagues from around the world. That was very effective.

WELT ONLINE: In Cannes, you had been chosen as a member of the jury, your name was kept on an empty chair for all to be reminded of your detention. Did the solidarity of the film community give you a sense of support?

Panahi: Very much so. Especially in the prison, the fact that they graciously supported me was a blessing. There I realized that despite all cultural differences directors and film enthusiasts from around the world speak with one voice. Especially during the hunger strike this really helped. I am proud to be part of such a community. It was the first time that film-makers – not only independent but also those working in Hollywood – came together to work together for my release.

WELT ONLINE: Have you had to put up bail for your release?

Panahi: Yes, in the amount of 200 million Toumans, which is about 150,000 Euros.

WELT ONLINE: How have you raised this money?

Panahi: I have did not put up any cash but had to put up the deed to my house. Since then I can leave my house without further, I can even take trips within the country, I just cannot go abroad.

WELT ONLINE: They say you changed your phone number several times a week.

Panahi: It’s not important at this point.

WELT ONLINE: Could this interview put you in danger again?

Panahi: If I cannot speak, make films, or express my opinion in any way, I will go crazy and die immediately. I want to stay true to myself and my profession.

WELT ONLINE: In your most recent statement you have stated: “I believe in the right of the filmmaker’s freedom of expression.” Your short film “Accordion” was screened at the Venice Film Festival: Two children earn their money by playing music in the street. When they play in front of a mosque, their instrument is confiscated. Is “Accordion” a political film?

Panahi: No. I generally do not make political films; my films are more about social issues.

WORLD ONLINE: Aren’t films with social issues automatically political?

Panahi: One can view it that way, but in my mind there is a big difference between them. Political films always take sides, they dictate what is right and what is not. That would never do a film addressing social issues. Instead, rather than seeking the roots of a phenomenon, it depicts it.

WELT ONLINE: In the film, the children find their accordion by chance. But rather than turning the thief in, they make music with him.  They come to the realization that he probably needs the money more than they do.

Panahi: The most important message of the film is non-violence. A non-violence that was experienced by the society of Iran after the presidential elections in 2009. The people here discovered something new: that it is possible to achieve some peace. That message is universal, because more and more communities around the world are taking the path of nonviolence. People do not wish to fight any more; they just want live in peace. Nonviolence means humanity. And it is only through this path of non-violence which humanity flourishes.

WELT ONLINE: What to expect in the future?

Panahi: My trial is scheduled for the 26th of September.

WELT ONLINE: Are you afraid of the hearing? And the possible unfairness or arbitrariness?

Panahi: No, I just have to wait to see what happens and what is in store for me. I have to walk my path.

Translated by Planet Iran Staff