Why attending the Oscars is crucial?

On the presence of ‘In the Arms of the Tree’ as Iran’s representative in Oscars

Cinema has become a powerful medium, showcasing its influence on the silver screen. Politicians and international relations experts call it "silver power." The Oscars is the marketplace where this valuable and sought-after commodity is exchanged. However, tapping into the potential of this renowned market requires extra vigilance and smartness.

After 10 days of reviewing and evaluating eligible films, a nine-member committee chose ‘In the Arms of the Tree’ as Iran's representative at the Oscars, giving Iranian cinema a chance to compete in the 2025 Academy Awards. The committee, consisting of Narges Abyar, Shabnam Moghaddami, Fereydoun Jeyrani, Ali Dehkordi, Morteza Razagh-Karimi, Mehdi Sajadehchi, Akbar Nabavi, Behrouz Shoaibi, and Majid Zeinolabedin, reached a consensus on the last day of summer and selected Babak Khajehpasha's film over its two rivals.

‘In the Arms of the Tree’ premiered at the Fajr Film Festival in 2022 but was released publicly in 2024. The film tackles the sensitive topic of divorce with a humane approach and explores the fate of children after their parents' separation. Critics and audiences alike have praised the film's powerful impact, which delves into the complexities of human relationships. However, experts note that the film's technical structure lags behind its narrative rhythm and logic. In other words, the content often overshadows the form.

As the competition approaches, ‘In the Arms of the Tree’ must meet the necessary requirements to qualify for the final round and improve its chances by screening internationally and participating in top-tier film festivals. What's essential is Iran's participation in this prestigious event.

Any opportunity to showcase Iran's capabilities and talents on the global stage should be valued and pursued, whether it's the Olympic Games or international film festivals like the Oscars and Cannes, which are considered the Olympics of cinema. Unfortunately, Iran's cultural representation, both historically and contemporarily, has been lacking. The world's perception of Iran is limited to a few unrealistic clichés, which is how Iran is judged. In the Platonic cave of the world, we are trapped in artificial images and shadows. The most vibrant global market for showcasing and competing with these images is international film festivals, including the Oscars. The necessity of a strong presence in this Platonic cave is self-evident. If so, why not be the narrators of our own images and produce and showcase our own products in the global image market?

 

Oscars and the misgiving of colonialism

Opposition to Iran's presence at film festivals like the Oscars is not uncommon. Critics see a ploy behind the glamour of the event. While it's hard to dismiss the possibility of such motives entirely, they argue that what appears to be a cultural and artistic festival is, in fact, a link in the chain of humiliating North-South or center-periphery politics. In their view, participating in the Oscars means playing on a field where Iran had no role in creating the rules, making it vulnerable to exploitation. Either Iran plays by the rules set by the "owners" of the field, or it leaves empty-handed.

However, even if the Oscars and other major film festivals like Cannes, BAFTA, Berlinale, and Venice have a neo-colonial subtext, can't Iran use them as an opportunity to build its national power? Let's look at the issue from a different angle.