AFI FEST FILM REVIEW: “Shayda” is a thoughtful and profoundly moving family drama. It chronicles the journey of an Iranian mother and daughter as they endure a painful separation from their abusive husband in Australia in the 1990s.
Paraphrasing the title of the Oscar-winning 2011 Iranian film “A Separation,” directed by Asghar Farhadi, another story of separation among Iranians comes to the screen -- “Shayda,” based on the personal experience of first-time Iranian Australian director Noora Niasari, delivers a vivid portrayal of an abused Iranian single mother and her daughter as they wander in a foreign land.
The film strongly suggests Shayda’s darkest moments, including the reference to when she was beaten, raped, and sent out onto the street with her six-year-old daughter, Mona. To overcome adversity, she seeks refuge at a women’s shelter, where she finds counseling, legal aid, and friends in similar circumstances who teach her to empower herself to confront her husband and his family.
Over the Persian New Year celebration, Shayda would like to take comfort in the Nowruz rituals that symbolize a new beginning. But real life takes work. Escaping domestic violence and her country’s totalitarian ideology, Shayda needs to recapture her cultural identity by staying connected to her Iranian food, poetry, music, dances, traditions, and, above all, the Iranian people in Australia.
In this stressful cat-and-mouse drama, Shayda must be as far as possible from her abusive husband, Hossain (Osamah Sami), but the law does not grant her wishes. The patriarchal Australian system, unaware that the father wants to take his woman and daughter back to Iran to preserve his misogynist dominance, rules in favor of the father’s visitations.
The collaborative effort took six years to come to fruition. Noora’s mother was not only her inspiration but also stood by her side during production. Academy Award-winning actress Cate Blanchett, who served as an executive producer, was an essential part of the project, Niasari said at a Q&A after the screening of her film during the AFI Fest in Los Angeles in 2023.
The Persian-born director Noora Niasari, who grew up in Australia, returned to Iran at 19 to learn more about her roots, cultural identity, and other elements that would enrich the film. The symbolism of Shayda’s clothes, shapes, and colors represents the emotional journey and transformation, visually turning Shayda’s silhouette into a butterfly.
In terms of place and time, the film powerfully analyzes how immigrants lived in Australia during the 1990s.
Starring Tehran-born actress Zar Amir Ebrahimi (“Holy Spider” & “Tatami”) is as remarkable as Shayda. She displays a wide range of emotions, portraying a mother who is aware of her daughter’s well-being yet also needs empathy for herself.
Actress Zar Amir Ebrahimi & Selina Zahednia, Photo courtesy of Sony Classics, 2023
Mona, the little girl, is confident and expressive; young actress Selina Zahednia plays her. She understood acting from the beginning. The mother-daughter relationship looked natural on camera thanks to Selina and Zar Amir’s chemistry. They bonded by practicing their scenes in a child-friendly environment for two months.
“Shayda” is a woman-driven story that depicts the repercussions of the Australian immigration system and resonates with a new image of the Great Southern Land we have not seen before.
Noora Niasari dedicated her first work to her mom and all the brave women of Iran. She will continue working on her trilogy and has just announced that her next project is an adaptation of Mahsa Rahman’s novel “Raya” in North America.
“Shayda” is an affectionate, female-driven film with a sense of belonging. This cathartic project reflects the challenges experienced by a single mom during her separation from her abusive husband, as she moves away from her totalitarian country to find shelter and personal fulfillment for her and her daughter in a new land that represents a new beginning for both women who dream of a better future.
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“Joyland” is a poignant allegory of love, despair, and melancholy—an achievement in Pakistani cinema.
“Joyland” challenges consciences on many levels, serving as both a powerful coming-of-age story and a reflection of a society that denies essential rights, such as inclusion, free speech, and equal opportunities for everyone, including those who think outside the box. In life, we often generalize and stereotype others, but instead, we should analyze and evaluate each person as a vital part of the community.
The film focuses on Haider Rana (Ali Junejo) and his conservative family. He lives with his wife, Mumtaz (Rasti Farooq), his father, mother, and his older brother’s family in Lahore, Pakistan.
Haider is an unemployed, hardworking, and shy man who lands a job as a backup dancer in a Bollywood-style burlesque show. Soon, the helpful and naïve man falls for Biba (Alina Khan), a sparkling trans woman who hosts a show at a nearby theater. As circumstances grow more complicated, Haider must navigate his double life carefully.
Biba shares a simple but meaningful joke with Haider: “The chicken and the mosquito shared a kiss. Then, the mosquito died of bird flu... the chicken died of dengue.” She then explains: “Because falling in love means death.” The joke highlights two main, opposing characters: the religious married man and the openly gay transgender person seeking freedom in a conservative society with strict laws.
The vibrant production centers on three distinct and memorable characters: Haider, Mumtaz, and Biba.
For Haider, his family is as crucial as the show’s success. He takes Biba’s safety seriously and cares about his family’s well-being, but balancing everything in real life isn’t easy.
Mumtaz is emotionally fragile. She wants to be pregnant but doubts her husband’s job because of his frequent absences.
Biba’s multidimensional character is neither sugar-coated nor does she pretend to be cute. She is an energetic, confident, and trustworthy trans woman who aspires to emigrate to Germany. Her honesty causes her to reject those who care for her, including Haider. Alina Khan’s performance is as impressive as Daniela Vega’s in the award-winning Chilean film “A Fantastic Woman.”
What is more remarkable about this moving production is that, despite featuring extraordinary actors, it was their first experience acting in films.
First-time writer-director Saim Sadiq describes “Joyland” as a deeply personal project because he comes from a diverse, middle-class family that is also trying to climb the social ladder, much like the characters in his film. Still, he has to recognize that people in Pakistan live in a patriarchal society that imposes limits on progress, love, and desires.
Director Saim Sadiq created an honest and balanced script that consistently emphasizes the “trans” theme and social conflict, building a strong dramatic arc and an open ending. Politically, Saim acknowledges the influence of the extreme right wing in his country and admits that his work will likely upset many. He mentioned that after screening his controversial film in Pakistan, he didn’t expect everyone to stay and applaud. Still, he hoped his film would inspire people to enjoy it, reflect on it, and continue thinking about it.
The highly acclaimed Pakistani film transcends barriers of freedom and acceptance.
It won the Jury Award at Un Certain Regard, Cannes 2022. It also received Best International Film at the Independent Spirit Awards 2023 and Best Artistic Contribution at the Cairo International Film Festival in Egypt. The celebrated movie earned Best Ensemble at the Bangkok Film Festival and the Audience Award at the Valladolid International Film Festival in Spain.
“Joyland” was Pakistan’s submission for Best International Feature Film at the 95th Academy Awards and was one of the fifteen films shortlisted.
The unexpected twists of “Joyland” take us to places we’ve never experienced before. The film’s vibrant urban settings, colors, and textures, combined with compelling storytelling, elevate the cinematic experience and draw viewers into the story.
More importantly, it is crucial to highlight the vibrant Pakistani youth who work hard and aspire to explore new horizons beyond their family’s boundaries, free from social restraints.
In “Joyland,” every character genuinely seeks acceptance, love, and respect, while audiences witness the struggle, beauty, and diversity of Pakistani society and other communities worldwide.
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“The Mole Agent/El agente topo” is a triumph of the human spirit! It is the most original, intelligent, charming, and endearing movie of the year.
This Chilean documentary tackles the alienation of the elderly with straightforward honesty and tenderness. The narrative begins when a CLIENT wants to prove a case of elderly abuse against her mother in a nursing home in Chile. She contracts with a detective agency to send its best agent on the mission—someone who can pass unnoticed among the caregivers and other residents in the facility.
Rómulo Aitken, the head of THE INVESTIGATION AGENCY, is responsible for replacing the previous agent due to a broken hip. The agency’s NEWSPAPER AD states that it is looking for a serious candidate, a man between 80 and 90, for the investigator position.
The interview and selection process went smoothly. Twenty applicants matched the profile, and three seem suitable, with only one being more thoughtful and formal for the role. His name is Sergio Chamy. Finding Sergio was a fortunate accident for the agency and the filmmakers. The determined and meticulous ninety-year-old newest agent can take over the entire investigation. Sergio’s mannerisms, accent, and impeccable behavior make him appear like a well-trained actor, but he is natural, charming, and attentive.
THE TRAINING covers using a cellphone, camera, texting, recording devices, and other GADGETS that every elderly investigator should know, including WhatsApp, an application that many of us do not even know how to use.
THE INSTITUTION: the agent must blend in with the other elderly patients, look like a “normal grandpa,” and avoid arousing suspicion.
The romance is an unexpected part of every hero’s journey when a coquettish woman wants to date Sergio. He acts like a true gentleman by respecting her without breaking her heart.
The target is hard to find, like searching for a needle in a haystack. Sergio’s perseverance guides him to her room. Still, his clumsiness with the gadgets forces him to be more discreet and never look conspicuous or nosy to the nurses or other staff.
THE POET lights up everybody’s story.
THE SUSPECT seems to be in trouble, and Sergio must find out what it is.
THE CONFLICT is more complex than it seems to be. It has a profound
social background that resides within every family, and we tend to forget those who gave us life in the end.
THE RESOLUTION comes as a shocking revelation that no one sees coming. It is
almost a biblical lesson to learn: “Who is free from sin, cast the first stone.”
RELIGION is essential to the residents’ lives, as we see some religious motifs that comfort them.
“The Mole Agent” is the work of a genius from a blossoming director, Maite Alberti, who repeatedly mentions that making this film was fun in various virtual Q&As.
The editing follows the storyline directly and professionally, adhering to a spy-movie structure. After that, everything else felt natural, layered, and complex. She emphasized not directing the subject to change Sergio’s natural performance. Making that choice was risky for her, but she had to let Sergio go and experience it fully in front of the camera.
The director lied a little to get permission to shoot the film inside the facility. She suggested the film’s focus stay on Sergio, the newest arrival, without disturbing others’ lives. When principal photography was finished and the crew left, they had to discover the truth. To be honest, Alberti organized a private screening at the nursing home and shared her true intentions. The relationship they built inside the facility was genuine. When they said goodbye, it was less about losing a resident than about gaining a friend.
Maite Alberti, documentarian, “The Mole Agent.” Photo: José Alberto Hermosillo
As a filmmaker, Maite Alberti trusted her instincts. Inside the institution, she made sure everyone felt comfortable with the camera. Maite also discovered that some interns have dementia, so she got approval from a family member to proceed.
“The Mole Agent” is so well-made that it can confuse viewers. Some believe everything was artificially staged. They think it isn’t a documentary because of the residents’ spontaneous reactions and natural performances. Many genuinely think “El Agente Topo” is a mockumentary because it was directed by professional actors, had a script, and a big budget.
This linear story was carefully planned and performed naturally by real people, making it resemble a “narrative feature film.” But everything in this vivid documentary is real. Cinema verité style uses real people in everyday situations with authentic dialogue. By capturing the residents’ natural actions, the director created an engaging, authentic docudrama.
The crew arrived three weeks before shooting began, allowing residents and caretakers time to adjust and act naturally in front of the camera. During the four months of filming, they worked six days a week and waited patiently to capture the right moments, aligning with the residents’ daily routines.
The Chilean Academy chose this co-production, involving Chile, the Netherlands, Spain, Germany, and the United States, to represent Chile at the 93rd Academy Awards in the Best International Feature Film category. This production has been nominated for 24 awards worldwide. It qualified for the documentary category and received an Oscar nomination for Best Documentary Feature.
“The Mole Agent” is one of the few projects representing the Latino community this year, a year when people of color gained more recognition from the Academy and other major guilds and award organizations than Latinos did.“The Mole Agent” is a heartfelt story that prompts us to reflect on our aging population. This Neo-Noir documentary focuses on creating a lasting universe where everyone who lives, loves, and dies in a nursing home feels real.
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Ten Shortlisted Films for Best International Feature Film for the Oscars 2020. Festival in LA
TEN SHORTLISTED INTERNATIONAL FEATURE FILMS PRE-SELECTED IN THE CATEGORY OF BEST INTERNATIONAL FEATURE FILM:
The Czech Republic, “The Painted Bird” Estonia, “Truth and Justice” France, “Les Misérables” Hungary, “Those Who Remained” North Macedonia, “Honeyland” Poland, “Corpus Christi” Russia, “Beanpole” Senegal, “Atlantics” South Korea, “Parasite” Spain, “Pain and Glory”
A record number of 94 countries submitted their films to the 92nd Academy Awards for the Best International Feature Film, previously known as the Best Foreign Language category.
Out of those 94 submissions, the one from Afghanistan was ineligible. Austria and Nigeria were disqualified because more than fifty percent of the dialog is in English. From that long list, ten films are shortlisted now, before the nominations announcement mid-January.
Not many surprises as the frontrunner and top foreign box-office, Cannes winner “Parasite,” seem to be ahead of the other preselected films.
Not that fast, the favorite film not always wins the Oscar. It happened in 2009 with Michael Haneke's Palme d'Or winner “The White Ribbon” loosing against the undiscovered Argentinian political-thriller “The Secret in their Eyes,” both films are equally meaningful with extraordinary beauty.
Last year, the Venice Film Festival winner “Roma” from Mexico won the Oscar over Cannes winner Japanse social drama “Shoplifters.” And a year before the transgender Chilean love story “A Fantastic Woman” beat Cannes winner “The Square” from Sweden.
In history, very few films won the Palme d’Or and the Oscar as well. The last movie to do so was “Amour” in 2012. “Pele the Conqueror” won both in 1987, “The Thin Drum” in 1979. “A Man and a Woman” in 1966, “La Dolce Vita” from Italy won in 1960, and “Black Orpheus” made in Brazil, represented France in 1959, won Cannes and the Oscar.
Measuring art is subjective, but not for the Academy members who prefer a wide variety of topics than the ones that have won in the influential European Film Festivals.
The films from Latin America are out of the competition after winning the Oscar for two consecutive years, "A Fantastic Woman" from Chile, and "Roma" from Mexico. "Invisible Life," the masterwork from Brazil and "Retablo" from Peru, both films were nominated for Independent Spirit Awards, but after the shortlist announcement have no chance for an Oscar nomination. This award season, anything can happen because the most controversial film of the year, "The Painted Bird" from the Czech Republic, made the cut. The eco-friendly documentary from North Macedonia's "Honeyland," or even "Beanpole" from Russia, can win over the three favorites, "Parasite" from South Korea, "Pain and Glory" from Spain, and "Les Misérables" from France.
