Iranian filmmaker Ali Asgari is foregoing visions of a utopian tomorrow with his sixth feature, A Bit of Light, which premiered in the main competition at the Venice Film Festival. Reflecting on the recent violence in his homeland, Asgari expressed a lack of faith in sweeping optimism.
“In Iran, we don’t have high hopes for the future anymore,” Asgari told Variety. “We’ve been waiting for good news for so many years, and it never came. But I do believe in these small specks of light. For now, let’s just stick to them so that we can take the next step.”
The drama follows a compassionate physician, portrayed by Misagh Zareh, who contemplates suicide following his arrest and the closure of his medical practice. Rather than acting impulsively, the character attempts to settle his affairs and inform his family. Asgari noted that the protagonist’s hesitation stems from a sense of duty toward his loved ones, mirroring the experiences of real doctors who witnessed the aftermath of the January massacre.
“Some doctors in Iran were the only witnesses to what was really happening after the massacre in January. They faced so much death and saw so many injured. We couldn’t even talk about it,” Asgari explained. “I saw so many families mourning their children. It had affected so many people’s lives. This man still feels connected to his family… That’s just the way he is.”
Asgari adopted a restrained directorial style to convey grief, requesting that Zareh limit his performance to subtle facial expressions and eye movements. He drew inspiration from Italian neorealism and screenwriter Cesare Zavattini, citing parallels between post-war Italy and contemporary Iran. The filmmaker also referenced the work of Nanni Moretti, particularly The Son’s Room, as a model for depicting ordinary life amidst tragedy.
The narrative incorporates the Sisyphus myth to illustrate the repetitive nature of survival under oppression. According to Asgari, the protagonist ultimately chooses to continue living despite the persistence of war and repression, likening this decision to rolling the rock back up the mountain.
Produced by Milad Khosravi for Seven Springs Pictures and sold by Salaud Morisset, the film centers on family unity as a remedy for despair. Asgari emphasized that shared moments, such as sitting together or dancing, are essential for personal and societal cohesion.
“We need, especially now, to be together. Iran is a divided country. I wanted this family to come together… If we want any kind of change, it should happen this way,” he said.
The director observed that the film’s emotional resonance transcended borders, noting that audiences at the premiere reacted deeply regardless of their nationality. “That’s what cinema is for – it can speak your language, and it can speak for everyone,” Asgari concluded. “I’m not waiting for a bright future anymore. Just for some light.”
Cinema really does bridge divides. I hope this stays close to home for Iranian audiences seeing themselves reflected.
Choosing Sisyphus as the core metaphor feels heavy-handed, though the restrained acting might save it.
The parallel between post-war Italy and current Iran is a fascinating observation I hadn’t considered before.