Eran Riklis: Iran, freedom and cinema
Paris Israeli Film Festival 2025: Special Event
READING LOLITA IN TEHRAN – Directed by Eran Riklis
With Golshifteh Farahani, Zar Amir Ebrahimi, Mina Kavani, Reza Diako, Arash Marandi
Azar Nafisi, a professor at the University of Tehran, secretly gathers seven of her students to read Western literary classics, which are banned by the regime.
Through these secret meetings, the women find a rare space of freedom, where they share their hopes, loves, and dreams, navigating life in an increasingly oppressive society.
For them, Reading Lolita in Tehran is a celebration of the liberating power of literature.
Special guest: The screening will be followed by a discussion with the director, Eran Riklis.
ERAN RIKLIS (YAEL YERMIA)
I had the pleasure of meeting Eran Riklis on the occasion of the advance screening of his latest film, Reading Lolita in Tehran, at the Festival of Israeli Cinema in Paris.
A renowned filmmaker known for works such as The Syrian Bride, Lemon Tree, and The Human Resources Manager, Eran Riklis welcomed me with disarming simplicity. Behind his international success, sharp cinematic eye, and artistic rigor, I discovered a man who is modest, gentle, and deeply thoughtful—someone who believes in the power of storytelling, in nuance, and in the intelligence of the viewer.
In this interview, he shares the origins of Reading Lolita in Tehran, his connection to Azar Nafisi’s book, his collaboration with Iranian actresses in exile, and his desire to open doors rather than deliver messages.
Yaël de Movieinthair : I liked very much your film. I wanted to begin this interview by asking a question regarding your vision of cinema and your movie. You’ve always blended the personal and the political in your films. How does Reading Lolita in Tehran extend what you’ve always tried to explore through cinema?
Eran Riklis: I think, you know, when I read the book, I read it in 2009. So it was after Lemon Tree, it was after The Syrian Bride, and I immediately felt, wow, this story—because of the political context, because of the social cause, because of women—I thought it really fits me. I could do it. But then I said to myself, okay, I’m Israeli. It’s an Iranian story. And anyway, I was too busy and I kind of forgot about it. I was making other films.
Then in 2016, I read the book again and I said, okay, I didn’t see that they made a movie, so I’ll try and see what’s going on. And I met the writer and we saw eye to eye, and I started working on it.
The reason I stayed with this story is that I really felt it complements what I always try to do: to tell a story of people within a political situation—not a political story, but about people, first of all—and how the politics, social movements and changes in society affect daily life. And here I felt it was extra rich because also you have the literature layer and the reflections of literature, and also many characters, which on one hand was a big challenge—how do you deal with so many characters?—but then I thought it’s a good challenge.
Somehow I felt that always when you make a movie, especially if it’s based on a book, you have to make it your own. It’s my story now. So I felt very comfortable from the beginning, even though it was not easy.
“I felt that always when you make a movie, especially if it’s based on a book, you have to make it your own. It’s my story now.”
Movieinthair: Many filmmakers could have adapted Reading Lolita in Tehran, but you were the one who did. What did you personally want to bring to this story?
E. Riklis: I think for me, probably the most burning thing—and even more burning right now—is that the world is changing all the time.
But I felt already some years ago that societies in many countries are going in a not very good direction: in terms of freedom, in terms of oppression, in terms of the rift between groups of people. It’s not even about left and right; it’s very complicated situations.
And we see now it’s happening almost everywhere in the world. So I thought that’s what I wanted to bring—to bring some clarity in a way. To tell a story that’s very specific, yes—women in Iran during the 80s and 90s, post-Islamic revolution—but actually, it’s actually about women and men everywhere.
Sometimes people say to me, “What do you mean? In America it’s not like this” but I really feel that even in countries that are still kind of stable, there’s something happening that is creating more and more tension and friction. So I felt this was a good voice to bring—not because it brings a solution. There is no solution in the movie. It even raises the question—which is very important and I don’t know the answer—what do you do: leave or stay and fight on?
Azar Nafisi decided to leave after 17 years. It took her a long time to realize she couldn’t stay in Iran. And that’s probably a question many people are facing these days.
“THIS STORY…IS ABOUT MEN AND WOMEN EVERYWHERE”
Movieinthair: How did your meeting with Azar Nafisi go? And in what way did her involvement influence your approach to the film? Were there any disagreements during the adaptation process?
E.Riklis: Well, first of all, when I decided to see what’s happening with the book, I found her on Facebook. I wrote a small message, she answered, we talked on the phone. She said she knows my film Lemon Tree. I said, “Does it make sense to you that an Israeli will tell your story? It’s an Iranian story.” She said, “Yes. I loved it. I think it’s great that you will do it.” So I said, “Okay, I’ll come and meet you.”
She flew to America. I told my investor—who doesn’t read scripts or books or anything, you tell them the story, they answer yes or no—“It’s about seven women who meet every week to read subversive books in Tehran.” He said, “Wow. Sounds really good.”
So I went to her. We spent two days together, talking, also with her friends. I heard her in an interview a few months ago in Italy in an interview where someone asked her, “Why did you give your story to an Israeli director?” She said, “When I saw Lemon Tree, I understood that if this man can do a film about a Palestinian women, he can do a movie about Iranian women. or something like that”
From the beginning, we trusted each other. I told her that like every movie, you have to adapt the book. It’s not copying. The book is quite challenging in many aspects. But when we sent her the script (with Marjorie, the screenwriter), she wrote to me one line: “Thank you for understanding my book.”
She was clever enough not to interfere. If I had questions I would call her .
“Why did you come back to Iran after the revolution in 1979? It doesn’t make sens to me” asked Eran Riklis to Azar Nafisi
Movieintheair: Did you?
E.Riklis: Yes. The only thing I called her many times was to say. “Listen, I have to understand. How does an intelligent woman like you, living in America teaching at university, your husband has a job, why did you come back to Iran after the revolution in 1979? It doesn’t make sens to me”
She said to me there were three raisons: First, it’s my country, I love it, two it’s my family, my parents and three, we all thought Khomeini would go away quickly. But he didn’t.”
I think that is something really typical in many occasions. We think “ok something bad is happening, it won’t last”. It took her 17 years to understand that she could’nt stay.
She said “I started to teach at university, and they kicked me out, then there was a war and I had children, and that I would not go to the university, then I realized ok I have to go”.
Before the end of the movie, she did’dnt see anything from the movie, some stills but that’s it.
She only saw the film the day before the world premiere in Rome. We had a private screening just her and her Italian agent and me. I was terrified, ita was the most frightening time of my life. I thought oh my god, she hates, she hates it she hates it, but at the end when the lights came up she hugged me, she kissed me and said, “I love it.” And she also had a very interesting screening in Washington where she lives in January. And she invited all her family and friends. They all loved it. That gave her a lot of confidence with her work.
Movieinthair: Yes and it brings the book back under the lights. Marjorie David, known for her work on series, wrote the script. How did your collaboration with her go, and why did you choose her?
E.Riklis: I was looking for a woman—not Iranian, not Israeli. A friend said, “Marjorie is very intelligent women, writes for TV, maybe this will be a nice challenge for her.” I met her, she met Azar, and they felt good.
Like always, even if I’m not officially the co-writer, the director is always a co-writer. We worked very closely. It took a long time—finding money, rewriting. It was a process. The first draft took 3–4 months. Then it was two years of rewriting and in 2020, looking for financing.
In 2021, I wasn’t finding money in France or Germany where I usually find my finance. I went to a small festival in Rome, spoke about the project. Two Italian producers approached me and said that they loved the story. In the beginning I said, “Rome? Really?” Eventually, it turned out to be a very good decision. Most of the funding came from Italy and from Israel.
Movieinthair: This is your second collaboration with Golshifteh Farahani after The Mona Lisa File. What made you want to work with her again?
E.Riklis: Funny story: when I was talking to Azar, I said who she imagined playing her, she said, “Angelina Jolie.” But then seriously, we asked who’s the most recognized Iranian actress outside of Iran—it’s Golshifteh. But she was hesitant to work in Farsi. She hadn’t done any Farsi-speaking films since leaving Iran.
It was a process. In 2022, we read the script together, and she cried at the end. I said, “You have to do it.” She was very happy to do it to be part of it. She was the obvious choice—right age, experience, and she reflects well with the young actresses, she had a natural authority as the professor character.
“We read the script together (with Golshifteh Farahani) , and she cried at the end. I said, “You have to do it.”
Movieinthair: How did you direct actors in a language you don’t speak (farsi)?
E. Riklis: How do you know? Maybe I do! (laughs) I’ve done many films in Arabic, so I’m used to foreign languages. Farsi is more complicated, but once I got used to it, it was like music. I listened to rhythm, tone. And I had an assistant to correct lines. I trusted my actors—especially Golshifteh, Zara, and Mina.
They left Iran in their mid-20s, so they speak the language fluently. Sometimes in editing I’d catch mistakes. But surprisingly, it wasn’t as hard as I feared. It was surprising how the music could felt in my ears.
Movieinthair: Your films often feature characters facing moral dilemmas. What attracted you to these Iranian women and their relationship to literature?
E.Riklis: After The Syrian Bride and the “Lemon Tree” which focused on women, I felt this was a natural evolution. Many characters. Iranians and Israelis share similarities—beyond politics, the people are close. I remember Israeli friends’ parents working in Iran in construction when I was a kid.
Iranian women are complex—modern, educated, yet in an oppressive society. Cinematically, that’s very rich and attracted, complex characters between women and men, between women themselves. But it was also challenging and frightening: how to balance Azar’s central character with the students, and then literature.
I had to make it simple and communicative. My assumption was I imagined the audience didn’t know Lolita, The Great Gatsby, Pride and Prejudice. I wanted it smart but also accessible—not just for festivals, but a large audience. You have to be clear. My editor had never heard of Lolita! Who is she? That helped keep things balanced.
Movieinthair: You shot in Italy. How did you recreate the essence of 1980s Tehran through your directing and artistic choices?
E.Riklis: a combination of two things : Research: films, archives, photos, consultants who remembered that era. But mostly intuition. I’d walk into a room and just feel it was right. If someone told me “this carpet didn’t exist,” we’d change it. I really trust my instincts.
Iranians who saw the film were surprised by the accuracy—even though we shot in Rome. Like I always say, Star Wars wasn’t filmed in space! It’s fiction. But we used minimal effects., you need to make it work.
Movieinthair:There is this beautiful scene in front of the bookstore when they remind of the past…
E.Riklis: That scene in front of the bookstore? Took me three months to figure out how to shoot it. Simple editing tricks worked in the end.
Movieinthair: The cast includes Iranian actors in exile. How did their personal experiences shape the film?
E.Riklis: The cast is a combination of actresses like Golshifteh, Zara, Mina—they were established actresses when they left Iran. Others left as teenagers or children. But they all grew up in Iranian families. For me it was a blessing to talk about the character and to know what it feels. Some actresses asked their mothers what life was like back then.
Yesterday at the screening, the actress who plays the religious girl—her mother came from Tehran for the screening. We were talking but she was crying, she was very moved. It was her generation. I made a decision that there would be only Iranian women in the films.
Casting took almost two years. But not in Zoom, it did not work. I met actors in Paris, London, New York, LA. I believe 50% of directing is casting. If you get it right, the film works. If not, it’s a problem. I as very careful with the casting.
“I believe 50% of directing is casting. If you get it right, the film works. If not, it’s a problem.”
Movieinthair: What were the main challenges you encountered while adapting the book to the screen?
E.Riklis: The book is very intellectual, sometimes like an essay—not pure fiction. The challenge was to turn it into a 2-hours film with flow, character arcs, a beginning, a middle, and an end.
You want to keep the sophistication of literature, but remember: these are people, these girls have lives, not just students of literature. Even the men. I told the actor playing the prosecutor in court—he’s tough, almost the villain—“You’re an Islamist, you burnt the books but you came to study literature. You’re curious. Remember that.” That give him some complexity to the character.
That made the character more complex. Even the customs officer at the start—he’s not the obvious bad guy. I wanted nuance and tension in every character.
Movieinthair: Which scenes were the most difficult to shoot?
E.Riklis: The most difficult was the demonstration. I din’t have a lot of time. Action scenes are complicated. You have people protesting, police, chaos—three groups moving at once. You need stunts, choreography. And they’re all chanting slogans—you have to make sure they’re accurate and properly aligned politically. I was really afraid of the scene.
I had three cameras. We filmed the entire scene from start to finish every time—no stop-and-go. It helped with realism and I think it feels real.
And we had about 200 extras for the Islamist side. Many were Italians who look like Iranians, but surprisingly, 30% were actual Iranians living in Rome. That gave the chants and mood more authenticity.
It reminded me of the diaspora—you find Iranians in every city, like the Jews. They bring that layer of truth.
Movieinthair:You’ve said this story, though set in Iran, echoes issues currently facing Israel, Europe, and the U.S. How do you hope it resonates with today’s audience, especially as women and artists’ freedom are increasingly under threat?
E.Riklis: Honestly, the question is the answer. Yes—it is relevant. I don’t have to push it. First you watch the film and at first, think “Iran, 1980s,” but then you forget that. It could be today. Even the people, their faces, the clothing, the atmosphere—it’s timeless.
The audience might think it’s about Iran, but it could be America, Israel, France. It’s about now. I don’t like to push a movie. People are smart. I trust the audience —they’re smart. You don’t need to hit them over the head. Just open the story and let them think but I also want to make it easy for them.
In the end, it’s a movie. People come to enjoy a movie, not to suffer, even if there are tough scenes. You want to entertain while making them reflect. I was trying to keep that in Cannes. That balance is important to me.
Movieinthair: The film is being presented tonight as a premiere at the Festival du Cinéma Israélien de Paris. What does this festival mean to you?
E.Riklis: It means Israeli cinema is alive! Still. And Paris—is thecapital city of the world in terms of variety—is the perfect place. This festival is successful. People come to see Israeli films.
In this case, it’s an Israeli film by an Israeli director—but not an Israeli subject. And it’s even more interesting in that sense. And yet, Israeli investors chose to fund a film about Iran. That means something. It shows belief in the story and in cinema that crosses borders.
Movieinthair: What is your biggest hope for this film and the message it carries?
E.Riklis: One message. I hope people think again—open their minds about Iranian. People often see Iran in black and white. Same with Israel. But nothing is black and white. Everything is gray, full of colors.
This story may seem about Iran, but also, bring it home, could be about anywhere—France, America, Israel. It’s a small warning sign: if you’re not careful, this is what happens.
Movieinthair: Were you afraid to come to France? Because of antisemitism?
E.Riklis: No. Maybe it’s typical Israeli attitude, but we say: antisemitism? Where? Show me! I’ve never experienced it. I’ve shown films all over the world.
Once, I was showing Lemon Tree at a university in the US. The organizers said BDS* might show up. There were five young men, two Palestinians and three American. And I said, “Ok, what can I say? Welcome.” After the screening, they said, “We have nothing to say.” What could they say against Lemon Tree?
Same here. So far, no incidents. But of course, with this film, I feel protected. It speaks for itself.
Movieinthair:Thank you very much. That was a very fascinating conversation.
E.Riklis: Thank you.
This conversation with Eran Riklis only confirms what his films have always suggested: a sharp, yet open gaze; a commitment free of dogma; and a deep sense of humanity that comes through in every word, every frame.
Reading Lolita in Tehran is a vital film — both intimate and universal — driven by the power of literature, the strength of women, and a director who chooses to open doors where others might close them.
*BDS : global movement calling for the boycott of Israel in protest of its policies toward Palestinians.
ABOUT
Eran Riklis: A Filmmaker Between Borders and Humanity
Eran Riklis is an Israeli director, screenwriter, and producer, born in 1954 in Beer-Sheva. He grew up between Brazil, Canada, the United States, and Israel—a life marked by displacement and observation. After studying at Tel Aviv University, he became the first Israeli to graduate from the prestigious National Film and Television School in the United Kingdom.
His work, deeply rooted in the sociopolitical realities of the Middle East, explores themes of identity, borders, individual resistance, and cultural dialogue. His cinema is profoundly human, always anchored in complex collective tensions.
Among his most notable films:
-
The Syrian Bride (2004) tells the story of a Druze woman stuck between Israel and Syria on her wedding day. The film won the Grand Prize in Montréal and the Audience Award in Locarno.
-
Lemon Tree (2008) features a Palestinian widow who fights to protect her orchard from Israeli expropriation. It was awarded at the Berlinale and by the Israeli Ophir Awards.
-
The Human Resources Manager (2010) follows an HR director tasked with repatriating the body of an immigrant employee—a human and existential journey. It won the Ophir Award for Best Film and the Locarno Audience Award.
-
Dancing Arabs (2014), adapted from Sayed Kashua’s novel, explores the identity struggles of a young Arab Israeli at a prestigious Jewish high school. The film opened the Locarno Film Festival and was selected at TIFF.
-
Reading Lolita in Tehran (2024), his latest feature, adapts Azar Nafisi’s bestselling memoir about women reading banned Western novels in Iran. The film won multiple awards at the Rome International Film Festival.
Eran Riklis is one of the most internationally awarded Israeli directors. His films have represented Israel at the Oscars, and his work is praised for its human sensitivity, political depth, and storytelling finesse.
Azar Nafisi: Writing as an Act of Resistance
Azar Nafisi was born in 1955 in Tehran into an intellectual family.
After studying in the United States, she returned to Iran in the 1970s and taught English literature at the University of Tehran. In the face of growing repression, she created a secret reading group in 1995, where former students gathered in her home to read forbidden works like Lolita, The Great Gatsby, and Pride and Prejudice.
This experience became the foundation of her memoir Reading Lolita in Tehran, published in 2003.
The book became a global bestseller, translated into more than 30 languages. It blends personal narrative, literary analysis, and political reflection. Since 1997, Nafisi has lived in exile in the U.S., where she continues to advocate for freedom of expression and women’s education around the world.
Golshifteh Farahani: The Defiant and Radiant Artist
Born in Tehran in 1983, Golshifteh Farahani is one of the most iconic voices in contemporary Iranian cinema. Raised in an artistic family, she won her first acting award at 14. She left Iran in 2008 after posing unveiled in a magazine—an act deemed unacceptable by the regime—and has lived in exile in France ever since.
Her international career includes collaborations with directors like Ridley Scott (Body of Lies), Jim Jarmusch (Paterson), Marjane Satrapi, and Louis Garrel.
In Reading Lolita in Tehran, she plays Azar Nafisi with remarkable restraint and inner strength—a performance that earned her the Best Actress Award at the Rome Film Festival in 2024.
Zar Amir Ebrahimi: Survivor and Symbol of Resilience
Zar Amir Ebrahimi, born in 1981 in Tehran, is an actress and filmmaker forced into exile after a scandal orchestrated by the Iranian regime. She rebuilt her career in France, and in 2022, she won Best Actress at the Cannes Film Festival for her role in Holy Spider by Ali Abbasi.
In Reading Lolita in Tehran, she plays Sanaz, one of Azar’s students. Her quiet intensity and controlled emotion lend the film both tension and tenderness. She is also co-director of Tatami, a film presented at the Venice Film Festival, about Iranian women athletes who dare to resist.
Her interview for the film Tatami she codirected with Guy Nativ.
Mina Kavani: A Free Voice and the Poetics of Exile
Mina Kavani was born in Tehran and is the niece of Iranian stage director Ali Raffi.
She began acting in Iran before seeking refuge in France, where she studied at the National Conservatory of Dramatic Arts in Paris. She rose to prominence in Red Rose and in No Bears by Jafar Panahi, which won a Special Jury Prize at the Venice Film Festival.
In Reading Lolita in Tehran, she plays Nassrin, a passionate and idealistic student navigating fear and hope. Kavani is also the author of Dé-rangée. L’exil au bord des lèvres, a personal and poetic account of artistic exile.
Paris Israeli Film Festival 2025: Discover the Full Program
The Paris Israeli Film Festival returns from March 17 to March 25, 2025, at Cinéma Majestic Passy for a 25th edition full of discoveries.
Created by Charles Zrihen, and now lead by Hélène Schoumann and her artistic director Armelle Bayou, it has, for a quarter of a century, this unmissable event has highlighted the talents of Israeli cinema, offering a unique perspective on a society in constant transformation through engaging, intimate, and powerful works.
To celebrate this anniversary edition, the program is packed: feature films, documentaries, classics, special events, series, and short films will all be in the spotlight.
Here is the official trailer:
PODCAST ON BEST FILMS OF THE PARIS ISRAELI FILM FESTIVAL 2025
This anniversary edition promises to be exceptional, with a diverse and emotionally charged lineup blending personal stories with major historical events.
The Paris Israeli Film Festival 2025 guarantees powerful moments of reflection and emotion.
🎟️ Discover the full lineup and book your tickets at festivalcineisraelien.com.
More about the festival:
LISTEN TO FALAFEL CINEMA, THE FRENCH PODCAST OF ISRAELI MOVIES
