Zar Amir Ebrahimi, co-director of the film “Tatami”

Ffilmed in sumptuous black and white, “Tatami” stands out today as a work of burning topicality. If politics is at the center of the plot, with an Iranian judoka (Arienne Mandi) on the verge of winning the world championship but pushed by the Islamic government to fake an injury to avoid a confrontation with an Israeli athlete, the cinematic aspect is stunning. Each fight releases real tension, with a strong woman who refuses to submit, in the name of sport and freedom… Little by little, the noose closes on her with threats to her family members.

behind the camera Guy Nattiv And Zar Amir Ebrahimi deliver a complex speech during a thrilling thriller. Ippon. Meeting with the French-Iranian filmmaker.

Co-direct and star in 'Tatami'. However, you haven't signed the script. How did you get involved in this project?

It all started with the role of Maryam. I met the director Guy Nattiv in Los Angeles, right after the release of the film ” Nights of Mashhad » in the United States. Pleased with my performance, he asked me to play the coach in 'Tatami'. However, reading the script, I made some comments about the character. The foundation was solid, but Maryam lacked depth. This woman carries ten years of betrayals and internal struggles within her, and it was important that she feel this weight. I therefore strengthened this aspect as well as the confrontation between this woman and the judoka Leila, from another generation.

The film finds the balance between the political aspect and its cinematic counterpart. How do you approach this aspect, which also runs through your career?

It is true that many of my projects have a political dimension. Even “The Survivors” can be read from this angle. More than the commitment of an artist, it is also that of a citizen. If I put so much time and energy into a movie, it's because it's supposed to make you think. I'm not here to direct message, but I want to open discussions. I prefer to tackle deep subjects that touch people, while being very careful to ensure that these political questions remain subtle and do not take precedence over the artistic aspect. This is also the challenge that such a collaboration with Guy represented, where sports and cinema were naturally politicized.

As you mentioned, you address the tension, the confrontation between the generations. Was this aspect essential?

This confrontation between generations is very present in Iran. The government divides and conquers, pitting the young against the old, even if they are friends or relatives. At the end of the film, these two women are shown uniting to fight together. Freedom starts there.

You chose to set the action in the world of judo and shoot in black and white. Can you explain these choices to us?

Judo is a sport that really impressed me with its philosophy. It's not just a fight, it's a matter of respect. There is a certain Japanese morality to the sport that matched well with the story we wanted to tell. The fights are like a dance, and this choreography is reflected in our camera, which revolves around the moving bodies. We rehearsed a lot to capture this dynamic, sometimes leaving room for improvisation to capture unexpected moments. So I worked a lot on the aesthetic, and whether the color choices refer to Martin Scorsese's 'Raging Bull' or Mathieu Kassovitz's 'La Haine', it essentially illustrates the black and white life of the characters. That is, they don't really have a choice: either they stay and betray themselves, or they leave, leaving a lot of things behind. A sacrifice…

The choice of black and white refers to Scorsese's Raging Bull or Kassovitz's La Haine.

“Tatami” is also a thriller. Was it a challenge to establish a consistent tension? Was this mainly done during editing?

The script already contained this tension. The challenge was to translate it on the screen, to capture this oppressive atmosphere in the corridors of this stadium with Soviet architecture. It took as much work as the fights themselves. The editing was really crucial to solidify this aspect, as was the choice of music with a rap side that infuses a social critique without being too overt.

“Tatami” by Guy Nattiv and Zar Amir Ebrahimi, with Arienne Mandi, Zar Amir Ebrahimi, Ash Goldeh. Duration: 1 hour 43 minutes. Released on Wednesday, September 4.