We live in an era where even works of art have an expiration date. No matter how deep, beautiful, and captivating they are, they have increasingly become products—items that are relevant only within a specific timeframe.
Following the Cinema Verité festival, the Art and Experience cinematic group has launched a new round of screenings for independent and experimental films with Silent Pond.
Bahador Zamani, the writer and director of Silent Pond, previously known for his acting roles in the feature film Rastakhiz and TV series such as Tanhaiye Leila, Kargadan, Yavar, Ghotbe Shomal, and the ongoing series Sojan, has collaborated in this film with actors such as Faraneh Karimianfar, Maryam Bobani, Javad Yahyavi, Yavar Ahmadifar, Amir Zemestani, and others.
Produced by Mohammad Reza Najatian and Fariba Sadat Khalili, Silent Pond narrates the struggles of a young girl who is passionate about playing music. As she steps into the world of music, unexpected events reshape her life.
Below is Saba’s interview with Bahador Zamani, the director and writer of the film.
Since you wrote the screenplay yourself, tell us about the idea behind the film’s story.
The main genre of the film is biography, but since it ends in a tragic manner, it can also be classified as a tragedy.
For a long period, I was acquainted with a woman, and by sheer coincidence, I discovered that she had once been an exceptionally talented musician—something no one around her knew. Over time, in different situations, I asked her questions about this, and I found it fascinating that she had completely abandoned that part of her life and was unwilling to discuss it.
These questions led me to various stories. Since not all of them had the potential to be turned into a feature film, I selected the part that could be adapted into a screenplay. Of course, the script underwent changes during the process of obtaining production and screening permits, and the result is the film that was ultimately made.
Did your approach to the subject stem from your experience in documentary filmmaking?
I have always been interested in a documentary-like atmosphere, but I am not particularly inclined to make a film in a purely documentary style. The reason the story is based on real events is that I believe the audience should have clarity from the very beginning. Either you tell them upfront that the world of the film is entirely fictional and fantastical, or you create a sense of deep relatability. I cannot accept anything in between.
For me, it is unacceptable to tell a story where, in some moments, the audience feels they are merely watching a film, while in others, they strongly relate to the characters and the narrative.
On the other hand, I had previously worked on a docu-fiction project related to the Sacred Defense and had made other short films based on true stories. All of these experiences ultimately led me toward developing this screenplay.
How long did the filming take, and when was it completed?
The filming lasted for 31 sessions and was completed in September 2020. In fact, we started shooting at the very beginning of the COVID-19 pandemic when no one really knew what they were dealing with.
How did your team handle the gap between production and release?
Honestly, I believe it was ultimately by God’s grace that the film made it to theaters because, as its creator, I had lost much of my initial obsession with getting it released. We live in an era where even artistic works have an expiration date. No matter how deep, beautiful, or compelling they are, they are increasingly treated as products—relevant only within a specific timeframe.
However, the fortunate thing about this film is that its theme revolves around music and art, which never become outdated. Music has always fascinated people throughout history, keeping the film relevant and engaging.
That said, when we were making this film, we used techniques that were considered innovative at the time. For instance, a new type of lighting had just been introduced to Iranian cinema, and very few people had used it. We shot the entire film using that lighting style, and if the film had been released back then, it would have looked far more visually striking. But over the past three to four years, as more filmmakers adopted the same techniques, they no longer feel fresh or groundbreaking. Some things simply lose their novelty over time.
You might use creative techniques to captivate the audience, but if a film isn’t released in its intended era, those techniques lose their impact. A viewer who has repeatedly seen the same approach elsewhere will no longer find it as impressive. This applies not only to cinematographic techniques but also to découpage, storytelling, and narrative style.
The film was shot in over 30 locations with 100 actors, which seems noteworthy.
Since the story is biographical and spans several years of the protagonist’s life, she naturally encounters many people who come and go. I wanted to include every character who had a meaningful impact on her journey, even if it was just for a single scene.
Moreover, because the film involves multiple music bands—each consisting of around 8 to 10 members—the number of characters naturally increased. Due to certain edits and omissions, some locations and characters didn’t make it to the final cut. But even with these exclusions, it’s clear that the film had a large-scale production, involving numerous locations, round-the-clock filming, and the immense challenges of shooting during the pandemic.
Tell us about the film’s international distribution and the awards it has received.
Although we did not invest much energy, obsession, or financial resources into international distribution, the subject of the film was such that it naturally attracted attention abroad. This was especially true because the original title of the film was Requinto—a well-known percussion instrument internationally.
However, due to its foreign name, we were not allowed to use it for domestic screening, and the film received its exhibition permit under the title Silent Pond. Nevertheless, in the international circuit, we participated with the original title Requinto. Even with our limited focus on international distribution, the film managed to receive significant recognition and awards. I believe that, with greater effort, even more could have been achieved.
Did you always intend to release the film under the Art and Experience category?
Given my experience in cinema, I knew from the start that this film would not easily secure a wide public release. Just because a film is produced and granted a screening permit does not mean it will automatically reach general audiences.
For a mainstream theatrical release, you need a well-known lead actor and a producer experienced in commercial cinema—both of which are crucial factors.
When we began production during the COVID-19 era, many actors were hesitant to work. On top of that, the story was quite challenging, and as an independent filmmaker, I did not have a large budget to easily cast established stars. So, I made the conscious decision to select fresh faces—especially for the lead role—so that domestic audiences wouldn’t have any preconceived notions about them.
This choice, however, came with its own challenges. Since the actors needed to have a background in music and instrument playing, it made the casting process even more complex. From the very beginning, I was aware that this film would ultimately fit best within the Art and Experience category.
However, an important aspect of Silent Pond is that, despite being categorized as experimental cinema, it is not an “experimental” film in the usual sense. It is evident that the filmmaker is not merely experimenting but is someone capable of making commercially viable films. The only reason it ended up in this category was due to the nature of the project and its cast, which did not include well-known faces.
Silent Pond was selected as a featured film at the Sound Screen Festival in Italy. What feedback did you receive from this event?
The Sound Screen Festival is based on the philosophy that “music is more than just sound” and can often be expressed visually. With this theme, the festival selects music-centric films from around the world.
The film received varied reactions, but the most valuable piece of technical feedback I received was that Silent Pond is a highly cohesive film with a Hollywood-style structure. This was particularly gratifying for me, as my goal was to ensure the film remained engaging and did not feel slow or overly experimental.
I didn’t want Silent Pond to be a film that only appealed to music enthusiasts. Instead of merely showcasing musical performances or discussions about music, I focused on portraying the protagonist’s life and personal journey in a way that resonated with all audiences. Seeing this aspect of the film appreciated at international festivals was truly rewarding.
Final thoughts.
I firmly believe that this film is the result of collective effort, and I cannot take sole credit for its strengths as the director and writer. Cinema is a collaborative art form, and the success or shortcomings of a film cannot be attributed to just one individual.
Given the immense dedication of my team—especially during the difficult times of the COVID-19 pandemic—I always take every opportunity to express my gratitude. I would like to thank everyone involved in this project, including those who appeared on screen and those who worked tirelessly behind the scenes but were not visible to the audience.
I also deeply appreciate the officials at the Ministry of Culture and the management of the Art and Experience group for their efforts in facilitating the release of this film.