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First, the Recap:
Dorothy said it best in “The Wizard of Oz”—-there’s no place like home. Wherever we might choose to call it, the comfort of being in a place of safety, contentment, support, and growth is paramount to a fulfilled life. This sense of peace, both inward and outward, can be elusive, however, when the shadows of an unsettled nation begin to take hold, forcing us to face that which we ideally don’t desire. As is often the case then, will we find the strength to remain firm in who we are, or allow the building pressure to break us? It is 1979, and in the midst of a worldwide focus on an existing crisis, Iranian immigrant Babak (Behtash Fazlali) is looking to meet his fiancé Katie’s (Oriana Leman) parents. But, with the specter of abject distrust in the air, will it be the joyous occasion it should be?
Next, my Mind:
A jarring, emotionally volatile, immediately evident exhibition of anger, uncertainty, perceived patriotism, longing for acceptance, immigration, and overt prejudice unjustly being assigned to the whole, this impactful, wholly relevant, Oscar qualified 24-minute short film from writer/director/producer Jasmin Mozaffari, producers Priscilla Galvez and Caitlin Grabham, along with executive producers Arsalan D. Asli, Taj Critchlow, Amir Karimi, Arian Moayed, Fuliane Petikyan, and Dean Rosen delivers an affecting gut-punch that not only reflects its timeframe conveyed, but more eerily our current times as well. What strikes this critic from the start are the shades of national reaction in the wake of 09/11, being understandably enraged AND outraged at the attack, yet then allowing our mindset to place misguided blame on ANYONE of Middle Eastern origins, with the ensuing turmoil only fueling more unrest than actual resolution, therefore further tearing the fabric of our country.
The narrative here, which ventures back to the days of the Iranian hostage situation, finds a young man wishing to enjoy a trip with his fiancé to finally meet her parents only to encounter the highly conspicuous, consistently growing amounts of prejudice against ALL people of Iranian origin, which takes its toll on him both physically and mentally even as he strives to blend in and show his normalcy as a PERSON. The very notions of just standing tall FOR who you ARE, even when it seems like the world is against you (or perhaps at the moment, it actually IS), and putting forth the effort to combat it while attempting to make others understand is key throughout the film’s runtime, and I honestly applaud Mozaffari for so candidly portraying the ebbs and flows of ethnic and/or racial tensions being explored, because again, sadly, we are IN that actuality AGAIN in our present age. Hence, this film is NECESSARY. Time to WAKE UP, people.
Adding to this, I totally admired the various means by which the film unflinchingly showcases the sheer draining potency that hate and skewed perspectives birth for the primary character, from the protests on college campuses, to the concern of friends and parents, to the very individuals whom he is yearning to please and be accepted by the most, it’s this deeply harrowing journey of having to encounter such aversion and how it so drastically alters even the most dogged of people trying to weather it without breaking. Likewise, those who demonstrate actual tolerance and supportive measures stand out just as much, for they are the voices that form the minority when they SHOULD be the majority. LOVE being the core that drives the narrative forward, as strong as it is, gets its own degrees of seriously marked challenge as to whether it CAN overcome it all or not, and needless to say, the film’s raging, heart-rending finale cements all the film’s themes with emphatic, compelling persuasiveness.
Fazlali exudes a magnitude of emotive power here that allows him to become a force of nature and intent, conveying a character in constant overall turmoil and torn mentalities about everything he is so adamant to protect, through his role as Babak, an Iranian immigrant attending college in Iowa. Coming upon the most opposite of situations to contend with–the anticipated joy of meeting his beloved fiancé’s parents but then the troubling national upheaval against Iranians due to the ever-looming hostage crisis and its ripple effects–Babak stands tall for his heritage and for the unquenchable love he has for his fiancé, even when others are warning him against proceeding. Having already confronted the hate circulating against his people, the journey to meet Katie’s parents seems more tangibly positive–but will it end that way or not? Fazlali’s fiery energy and impassioned delivery makes this one to watch, a performance pulling at your own emotions in every feasible way.
Primary supporting turns come first from a charming, vulnerable, and undeniably confident Leman as Katie, Babak’s doting and also emotionally-driven fiancé who more than stands without hesitation or judgement towards the man she loves and wishes to spend her life with. Even when Babak begins to make certain decisions along their travels to see her parents that are born of his inward perceptions of how to try and be more accessible to others, Katie still maintains her commitment and care for him. However, once Babak has met both her mother and father, will things actually be able to remain the same?
Nima Gholamipour plays Bahman, Babak’s dorm roommate at the college who stands in support of his friend yet also a voice of caution that may or may not be heeded by his stalwart and stubborn pal. Birgitte Solem is Ruth, Katie’s mother who shows seeming acceptance of Babak but has her own issues to contend with when it comes to relationships. John Ralston is Werner, Katie’s father who likewise appears to be ok with Babak, even finding a certain commonality between them until there’s potential discord that threatens his approval. Niaz Salimi, via voice only, plays Babak’s mother back in Iran with whom he has multiple conversations with that take decidedly different turns leading to equally differing reactions. Additional supporting appearances are made by Daniel Henkel, Kevin Owen Clarke, Piret Jõgeda, Kiera Osborne, Hannah Termaat, Shawn Gordon Fraser, Stacie Dunlop, Mario Carito, Taylor McWatters, Ralph Perl, Henkelina Mick, Douglas Pollard, Tammy Boundy, Andrea Hauwert, Bram Steele, Cindy Ambridge, Dillon Parnell, and Glenda Purves.
So, in total, “Motherland” is an unapologetically raw, indisputably requisite, wholly awareness-raising effort that so adeptly reminds us to truly reconsider the manner in which we see each other as human beings, actually learn from our mistakes, and adjust our attitudes accordingly. Additionally, it is a story that challenges us to NOT be so quick to place unwarranted judgement and punishment against an entire people, race, or creed for the actions of a few, that in doing so, perhaps we WILL discover the more constructive manner in which to resolve almost all disputes or grievances–with peace and unity.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
