Last Updated on August 9, 2024
The film and entertainment industry has been, and continues to be, a central pillar in global culture, art, and communication. This dynamic, creative ecosystem has continually adapted to technological advancements, evolving consumer preferences, and global socio-political shifts, to create a wide array of experiences and stories that cross borders and cultures. However, the industry also has its challenges, such as financing, distribution, and the ever-growing competition in the digital age.
Within this vibrant landscape, certain individuals leave an indelible mark through their unique perspective and dedication to their craft. One such individual is Yasaman Baghban. Hailing from Iran, Yasaman embarked on an atypical journey that led her from an academic background in Engineering to become a celebrated filmmaker, specializing in documentaries and experimental cinema.
Her initial fascination with cinema was fueled by her mother, who introduced her to the world of film from a young age. This spark of interest eventually ignited a passion that led Yasaman to abandon her engineering degree in favor of a career in filmmaking. After completing a one-year filmmaking course at the Iranian Youth Cinema Society, she found her true calling as a documentary filmmaker.
Yasaman’s body of work is both deeply personal and universally resonant. Her films tackle critical human rights issues, using unique narrative styles to engage her audience. This distinctive approach has led to her work being accepted at various international film festivals. Such recognition serves as a testament to her understanding of the industry and its challenges.
We recently had the privilege of interviewing Yasaman to discuss her hands-on experience in the film industry. Her firsthand experience, including her success at international film festivals, offers invaluable insights into the practical realities of working in this industry. Her unique perspective, born out of her personal experiences and challenges, makes her a reliable and credible source of knowledge for aspiring filmmakers and students alike.
In our conversation, Yasaman candidly shared her experiences, insights, and lessons from her journey in filmmaking. This conversation provides a deeper understanding of the film industry’s complexities, the intricacies of the creative process, and the challenges filmmakers face, both in their craft and their careers.
Hello, Yasaman! Can you tell us about your firsthand experience in the film industry and how it has informed your work today?
My mother has always harbored a deep love for movies. I distinctly remember her taking me to the movie theater to watch films that critiqued social norms when I was around 9 or 10 years old. This was my initial exposure to serious cinema, and it made a lasting impression on me. Later, while studying Chemical Engineering at Shiraz University, I sought respite from the daunting realm of math and physics by delving into the world of film. I worked at the university’s film center, assisting with film screenings, programming, and translating reviews. These experiences profoundly impacted my life, ultimately altering the trajectory I had planned for myself.
Upon completing my engineering degree, I decided to follow my passion for filmmaking. I sat for the entrance exam of the Iranian Youth Cinema Society, which was, at the time, the only accessible route to learning cinema for those who did not live in Tehran. I was fortunate to be accepted into their one-year filmmaking course. As I explored the fundamentals of cinema during my time there, I discovered, beyond a doubt, that my true calling was to become a documentary filmmaker.
You have had your documentaries accepted in international film festivals. What, in your opinion, made your films stand out and resonate with such diverse audiences?
While my films narrate personal stories, they also spotlight global crises, with humanity at the core. I delve into themes of human rights, striving to craft narratives that resonate universally. When I embarked on my filmmaking journey, I initially adhered to conventional storytelling techniques. However, I soon realized that I sought to deviate from that approach.
Through exploration and experimentation, I developed a unique language and style. I believe audiences appreciate and seek less conventional methods, as these permit a deeper engagement with their memories and lived experiences.
As someone with direct experience in the film industry, what are some unique challenges you faced, and how did you overcome them?
I’ve been working independently, unlike many others who claim independence but depend on government funding in Iran. Consequently, funding has become one of my primary concerns. I chose to continue my education and filmmaking through academia outside Iran, which poses undeniable challenges for an emerging filmmaker. However, several other factors have contributed to my feelings of disorientation.
Firstly, concerns about stability and my status in the USA, coupled with the ongoing crises in Iran, make returning to Iran a significant obstacle. As a documentary filmmaker who criticizes the dictatorship, going back to Iran becomes increasingly difficult.
Secondly, living as an ordinary Iranian in the USA without citizenship or a Green Card has stripped me of many rights. I lost my first academic job in the USA because I didn’t receive my EAD card even after several weeks, which prevented me from pursuing any job, including teaching a course I had applied for, been accepted into, and prepared to teach. Additionally, most Iranians who come to the US with an F1 visa are granted a two-year single or multiple entry visa. Consequently, I’ve missed opportunities to attend film festivals outside the USA.
This has undoubtedly affected my career growth and networking opportunities. I’ve tried to maintain patience and consistency amid these stresses. If I’m compelled to miss one opportunity after another, how can I survive in this highly competitive industry? For example, in July and August, while most of my friends are traveling, I can’t attend the Female Eye Film Festival in Canada, a Canadian Screen Award-qualifying festival, as well as the MDOC – Melgaço International Documentary Film Festival and Manlleu Film Festival, which are screening my film, “I Was Born in 1988.
Another of my films, “Home,” about Afghan refugees, has been screened at multiple film festivals in Europe and Latin America, but I’ve been unable to participate. This goes beyond mere unfairness; it’s a direct result of holding an Iranian passport, which inevitably limits my mobility and opportunities.
Additionally, as a documentary filmmaker, traveling worldwide is crucial for me. It serves as a rich source of inspiration for my work. However, as I’ve mentioned, I can’t leave the USA. I’m currently working on a project about a Myanmar refugee for which I won a fellowship and an award. To capture the situation accurately and gather firsthand information, I need to travel to East Asia.
Unfortunately, I’m unable to do so and have to rely on second-hand information. This doesn’t just consume more time and increase my film budget, but it also impacts my approach to filmmaking. Another missed opportunity was when Russia invaded Ukraine. I had a photography project focused on exploring the post-memory of war and reflecting on women’s issues, but I was unable to pursue it.
Could you share some significant lessons you have learned from your hands-on experience in the film industry that you believe would benefit students and budding filmmakers?
In the world of filmmaking, there is a tremendous amount of knowledge and inspiration to be derived from both hands-on experience and the study of existing films. While practical projects enable students to apply their skills and gain firsthand experience, watching films is pivotal in fostering a deeper comprehension of the medium.
Watching films exposes students to a myriad of storytelling techniques, visual aesthetics, and narrative structures. They observe how different directors handle themes, character development, and cinematography. By studying an array of films across various genres and eras, students can diversify their creative toolkit and broaden their perspectives.
Furthermore, participating in workshops and interacting with established filmmakers provide priceless learning opportunities. These exchanges offer insights into the industry, revealing the challenges and victories experienced by seasoned professionals and providing guidance on students’ own creative journeys. Through attending workshops and discussions, students can benefit from the wisdom and experiences of others, yielding a more holistic education.
Reading about filmmakers and their works also plays a significant role in the development of aspiring filmmakers. Biographies, interviews, and critical analyses offer profound insights into the creative processes, influences, and philosophies of renowned directors. Through such readings, students gain a richer understanding of the artistic and technical choices made in films, enhancing their knowledge of film history and theory.
By combining practical assignments with film viewing, workshops, and reading, students can create a well-rounded educational journey. This balanced approach not only aids in the development of their technical abilities but also fosters their creative vision, draws inspiration from accomplished filmmakers, and assimilates the collective experiences of the industry. Ultimately, this multifaceted approach elevates their capacity to produce meaningful and impactful films.
How has your experience with international film festivals influenced your perspective on global cinema and its audiences?
Participation in international film festivals undeniably broadens one’s perspective on global cinema. These experiences expose participants to a wide variety of films from different regions, promote cultural exchange, and pave the way for discovering new talent. They provide insights into audience reception and an understanding of industry trends and market dynamics. Essentially, they enhance our understanding of cinema as a universal language that bridges cultural gaps and unites audiences worldwide.
My experience at the True/False Film Festival, a distinctive and esteemed event in the world of documentaries, was enlightening. Engaging with the audience following the screening of my film exposed me to a variety of perspectives, challenging my assumption that collective memory is universally shared. This realization highlighted the importance of considering diverse viewpoints when crafting documentaries.
My time at the Atlanta Film Festival, an esteemed platform that qualifies for Academy Awards and Canadian awards, was also illuminating. The Q&A session that followed my film screening provided valuable insights into the audience’s deep concern for individuals from different backgrounds and the authenticity of their lives. I observed that audiences are discerning, valuing not just the content but also the aesthetics of the films. This experience served as a reminder that audiences crave outstanding films and are not easily satisfied.
However, it’s important to acknowledge the potential negative impacts of mass and social media, as well as the mainstream industry’s influence, on audience taste. By objectifying subjects and promoting passivity among audiences, these forces can distort authentic cinematic experiences. However, film festivals and independent organizations play an essential role in enhancing audience discernment and promoting high-quality, impactful cinema. This is reassuring, as it indicates that there remains space for audiences to engage with thought-provoking and influential cinema.
Can you talk about a memorable incident from your time in the industry that significantly shaped your approach to filmmaking?
When I decided to pursue further education, I applied to various universities, focusing specifically on the field of documentary filmmaking. I was accepted by several institutions in both the UK and the USA. However, I ultimately chose to study at Duke University.
Opting for the Experimental and Documentary Arts program proved to be a significant turning point in my life. This program opened a new window for me into the realm of experimental art, and it allowed me to meet remarkable individuals. The feedback they provided on my work was invaluable and played a crucial role in shaping my success.
It was at Duke University that I truly discovered the approach I wanted to pursue in my career. The critique classes I attended during my two-year study at Duke were undoubtedly unforgettable. These classes taught me how productive a critique can be and the vital role it can play in our professional lives.
In terms of the filmmaking process, what do you believe are some industry practices that are less well-known but crucial to creating a successful film?
Creating a successful documentary film, I believe, hinges significantly on preproduction, which encompasses a variety of aspects such as research and development, assembling the best crew, building networks, budgeting, and more. As filmmakers embark on their documentary journeys, patience becomes an essential virtue. Quality should be prioritized over quantity, although this consideration is frequently overlooked in the filmmaking industry. Personally, I hold in high regard the skilled documentarians who delve deeply into their subjects. This principle is equally applicable to narrative fiction films.
As an experienced filmmaker who has navigated the international festival circuit, what advice would you give to emerging filmmakers looking to debut their work on a global platform?
When filmmakers hold a strong belief in their creative vision and the validity of their approach, success is likely within reach. However, time is a crucial factor. Without the fortune of attracting wealthy producers, patience becomes indispensable to stave off potential disappointment.
Additionally, filmmakers need to discern the most suitable platforms for their works, as not every festival caters to every kind of film. Documentaries and experimental films operate within distinct networks and platforms, which are significantly different from those catering to commercial and narrative fiction films. For instance, I wouldn’t submit my films to festivals known for favoring conventional cinematic styles.
