Educational Media Reviews Online

In Salam Iran: A Persian Letter, Canadian filmmaker Jean-Daniel Lafond decides to accompany his friend Amir on a trip back to Iran. In 1983, Amir ran afoul of the revolution and fled Iran after receiving a tip that his arrest had been ordered; now he returns to see his mother and his country for the first time in almost 20 years. When Tehran needs more time to investigate Amir before granting his visa, Jean-Daniel decides to go alone, to be joined by Amir a few months later.

Even before Amir’s arrival and reunion with his mother, the film has a very personal and authentic feel. Jean-Daniel is often in front of the camera, meeting people, observing rituals, and conducting interviews. He interviews young people on the street as well as those who played a role in the revolution. (Most of the speaking is in French, with English subtitles.) His interpreter’s awkward responses to his questions (“Was the revolution a success?” “Are you free?”) are revealing, as are Vice President Ebtekar’s careful statements about the direction the country is moving. Jean-Daniel has a knack for eliciting honesty in a country where everyone speaks cautiously about political issues. He interviewed one man who buys 25 newspapers from several newsstands to find out what’s really happening; like him, Jean-Daniel is to be commended for putting his finger on the pulse of Iran’s struggle for freedom in this excellent and well-edited documentary.

The Tree that Remembers is a more somber look at the lives and memories of Iranian exiles in Canada. Like Amir, these young men and women helped overthrow the Shah in the name of democracy and freedom, only to fall prey to the Ayatollah’s regime. Unlike Amir, the handful of exiles interviewed in this documentary did not avoid arrest; they suffered imprisonment and torture after minutes-long trials. The historical footage of the revolution and the personal testimony of people who have suffered much combine to make this a powerful documentary.

Director Masoud Raouf’s original artwork, some of which is animated, adds an artistic element, as does the assembly of a replica of one of the tiny cells used for solitary confinement. These features are not overstated, and support the film’s message without distracting the viewer.

Both are appropriate for academic and public libraries, especially any collection supporting an interest in Iran or in exile. Salam Iran would also support political science, and The Tree That Remembers could be useful in some sociology and psychology classes.