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Exploring the legacy of Eran Riklis: Defiant narratives of Middle Eastern women
Understated yet impactful: reading Lolita in Tehran
Eran Riklis is known for his unwavering focus on telling the stories of Middle Eastern women navigating complex socio-political landscapes. Films like “Lemon Tree,” “The Syrian Bride,” and “Shelter” have become cornerstones of his portfolio. His latest work, “Reading Lolita in Tehran,” adapts the memoir of Iranian-American Azar Nafisi with a unique sensitivity. Nafisi’s experiences during post-revolution Iran are brought to life, offering a cinematographic lens into life, literature, and perseverance.
The narrative structure and episodic journey
“Reading Lolita in Tehran” unfolds through episodic segments, sometimes punctuated by abrupt jumps in time. The screenplay, developed by Marjorie David, follows Nafisi (captivatingly portrayed by Golshifteh Farahani) over 24 years. Returning to Tehran with her husband, Bijan (Arash Marandi), in 1979, right after Iran’s Islamic Revolution, Nafisi’s journey is contextualized with an initial title card. It was a period filled with hope for many Iranians returning from abroad, although many dreams were left unfulfilled.
Cinematic immersion into a changing Tehran
Nafisi’s early days at a prestigious university see her teaching Western classics to co-ed classes. Works like “Huckleberry Finn,” “The Great Gatsby,” “Pride and Prejudice,” and “Lolita” serve as both syllabus elements and chapter titles for the film. Initially, few women wear hijabs or headscarves, but a conservative shift soon envelops the classrooms and streets. Men start voicing entitled opinions about how women should dress, foreshadowing the conservative wave that would soon mandate such practices by law.
Conflicts in academia and beyond
Nafisi continues her classes, encouraging her students to grapple with the moral complexities within the literature. Yet, it isn’t long before the religious right takes to the streets, infringing upon the university’s academic freedom. Signs demanding the purification of the curriculum challenge secular women wishing to dress freely. One standout scene derives from a vivid memory of Nafisi’s: approached by a guard for not wearing a headscarf, she poignantly recalls her devout grandmother wore it by choice, not as a symbol imposed by law.
Illustrating the themes within “Reading Lolita in Tehran”
While some scenes, such as the overt comparison of Iran’s streets to “Lolita’s” Humbert, feel heavy-handed, Riklis crafts truly memorable sequences where Nafisi secretly teaches literature to inquisitive women after leaving the university. These intimate gatherings delve deep into thought, debate freeing ideals, and even explore topics once considered taboo, like sex. The support from a talented cast, including Mina Kavani and Zar Amir Ebrahimi, adds authenticity to each portrayal.
Lives outside literature: Suppression and resilience
Outside Nafisi’s home, the women endure various forms of oppression, including a harrowing scene that traces a character’s visit to the doctor. Yet within the safety of their secret meetings, highlighted by poetic shots from Hélène Louvart, true dialogue flourishes. Surrounded by spreads of fruits and pastries, conversations about faith, freedom, and femininity reveal layers of their struggles and dreams.
Nafisi’s daily life and nuanced relationships
Riklis also captures the normalcy of Nafisi’s everyday struggles, including scenes depicting daily censorship. The narrative introduces a mysterious intellectual friend, further enriching the film’s emotional tapestry. Their relationship, tinged with emotional depth and subtle sexual tension, charts an intriguing course throughout the film.
Contemporary reflections and resonances
In the context of real-life events such as Mahsa Amini’s tragic death in 2022, “Reading Lolita in Tehran” is undeniably political. Amini’s death underlines the contemporary relevance of Nafisi’s story, reminding viewers of ongoing struggles. Riklis strikingly frames this homage through scenes where Farahani’s Nafisi wrestles with her identity, her headscarf, and a gaze that challenges the status quo.
Final thoughts and long-lasting impact
Riklis’ “Reading Lolita in Tehran” ends with Nafisi’s relocation to America, driven by a desire to raise her children away from repression. Though the film may not always capture the full emotional grandeur of Nafisi’s memoir, it remains a profoundly feminine and rebellious portrayal. Enriching his body of work, Riklis invites us to reflect deeply on cultural change, gender, and the enduring power of literature.
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