The highly anticipated premiere of Hijamat, a poignant family drama, signifies a bittersweet occasion for Iranian filmmaker Nader Saeivar. Known for his previous works like The Witness and No End, Saeivar co-created this film with his longtime collaborator Jafar Panahi, a celebrated director with a complex history in Iranian cinema. Although Saeivar will be attending the film’s world premiere at the Karlovy Vary International Film Festival, Panahi remains barred from travel due to ongoing political pressures and legal issues in Iran.
A Journey from Iran to Berlin
Saeivar’s journey to Berlin marked a turning point in his cinematic career, as Hijamat is his first feature fully produced outside of Iran. His previous work with Panahi on It Was Just An Accident, a Palme d’Or winner at Cannes 2025, spotlighted their creative synergy. Unfortunately, Panahi returned to Iran after the film’s Oscar campaign, where he faces another prison term for alleged “propaganda against the regime.” This troubling backdrop casts a shadow over the film’s success, as both men have fought against restrictions on their creative expression.
In Hijamat, actor Kida Khodr Ramadan takes on the role of Murad, who wrestles with protecting his younger brother, Kerem, after discovering that he is gay. The film delves into the complexities of a deeply religious Muslim family navigating life in Berlin, where buried secrets threaten their unity. Alongside Ramadan, the cast includes notable actors such as Nicolette Krebitz and Moritz Bleibtreu, contributing to the film’s rich narrative.
The Meaning Behind Hijamat
The term Hijamat, which refers to the traditional practice of wet cupping for pain relief and detoxification, serves as a metaphor central to the film. Saeivar articulates the necessity of confronting long-held beliefs that act as barriers to personal freedom and societal change. He likens these beliefs to “dirty blood” that must be cleansed for transformation to occur, stressing that any political upheaval begins with introspection.
In illuminating his own personal journey, Saeivar reveals how relocating to Berlin led him to reevaluate ingrained beliefs he had clung to for decades. This shift in perspective enables him to explore the roots of societal issues rather than merely addressing their symptoms—an evolution that deeply influences the overall narrative of Hijamat.
A Universal Exploration of Rigid Beliefs
While Hijamat is set within the Turkish community in Berlin, its themes are remarkably universal. Saeivar uses this specific context to examine how rigid beliefs confine individuals across cultures. He argues that people in the East face constraints imposed by religious doctrine, while in the West, societal nostalgia can impose its own limitations. Through this lens, Saeivar believes that achieving true freedom is contingent on dismantling these mental walls.
The film also symbolically represents this internal excavation. A key scene depicts Murad being led to a cellar, emphasizing the importance of digging deep within oneself for self-discovery and liberation. Saeivar’s choice of Ramadan as the lead character underscores this connection to the community. He likened Ramadan’s integral role in the film to that of a “mayor,” essential for accessing the narratives and experiences of those within the Turkish community in Berlin.
In conclusion, Hijamat serves not just as a film but as a profound commentary on belief systems and the necessity of self-exploration. While the absence of Panahi looms over the film’s premiere, the collaboration between Saeivar and Panahi remains a testament to their enduring friendship and shared commitment to storytelling that challenges and inspires. As Saeivar continues his artistic journey, the themes of Hijamat resonate more than ever, calling for a collective effort to combat the walls that inhibit genuine freedom.