Baradaran Leila (Leila’s Brothers) in cannes 2022 is Critical now

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Taraneh Alidoosti & Navid Mohammadzadeh in Baradarane Leila (Leila’s Brothers)Baradarane Leila (Leila’s Brothers) by Saeed Roustaei

Saeed Roustayi’s film has not yet been licensed for domestic screening and basically no one from the Ministry of Guidance has seen it. If this film was shown in Cannes and then it seemed that it was not suitable for screening in Iran or parts of it had to be corrected, what would be the consequences for this in the Iranian media space?

A film by Saeed Roustaei is scheduled to be screened at the 75th Cannes Film Festival; In its competitive part; And not a single sentence of the synopsis of it has been published in any language, not a single word has been stated as to what its subject is. Even the officials of the cinema organization of the Ministry of Guidance have not seen a frame of it.

The investor of the film is also unknown. It is only alleged that Wild Bunch AG distributes the film.

saeed roustayi made his first film with the investment of Mohammad Emami and his second film with the investment of Mohammad Sadegh Ranjkashan. But no one knows about the investor in his third film. There is no summary of the story, no information about which person or company has invested in this work, and not even a detailed information about the mechanism by which the rural film was introduced to the Cannes Film Festival. Is the “Leila Brothers” (Baradarane Leila) the official representative of Iran in Cannes 75?

A newspaper laments the famous cinema director

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Saeed Roustayi, Director of Baradarane Leila Movie (Leila's Brother)
Saeed Roustayi, Director of Baradarane Leila Movie (Leila’s Brother)

Is the investor basically Iranian or are they just agents of Iranian film and is it a foreign film, like some of Asghar Farhadi’s works, such as “The Salesman”, which was the first French representative at the Hobbit Festival in India? Naturally, this film has been licensed by the Ministry of Guidance of Iran, but does it also have a screening license?

The French media wrote that the film was presented in Cannes without seconds of censorship, but the question is whether it was basically monitored and audited in a special way, which was not filtered or not?

Can this film be shown in Iran without censorship after Cannes, or have foreign audiences been allowed to watch things that are not domestic audiences? Many may see this sheer silence as Saeed Roustaie’s attempt to escape the margins, but a film that is marginalized by the release of its synopsis and the determination of who invested in it reinforces the notion that things are more than aesthetic criteria. Another has opened an account to be seen.

In the heyday of Iranian film festivals, when there were fewer margins, the rule was that films were not screened at a foreign festival before being shown in the Fajr interior.

Films at that time were taken to foreign festivals by the Iranian government and the Ministry of Guidance, and it was not the case that the director and his own producers would directly attend these events. Saeed Roustaei’s film has not yet been licensed for domestic screening, and basically no one from the Ministry of Guidance has seen it.

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Baradarane Leila - Leila's Brothers
Baradarane Leila – Leila’s Brothers – Taraneh Alidoosti & Saeed Poursamimi

 If this film was shown in Cannes and then it seemed that it was not suitable for screening in Iran or parts of it had to be corrected, what would be the consequences for this in the Iranian media space?

The film has been seen by foreigners in its entirety and only Iranians should see its censored versions.

This case also causes the news and analysis authority to be taken from the Iranian media and handed over to the Westerners.

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