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Directed by Mohammad Shirvani, Cesarean Weekend includes scenes of physical intimacy unseen on screens in Iran since the revolution in 1979.
Shirvani has long worked outside mainstream Iranian cinema, producing low-budget, highly personal films that reject conventional storytelling and visual norms.
His latest work follows a small group of characters in private settings, focusing less on plot than on relationships, physical presence, and emotional tension.
The film features composer Nader Mashayekhi appearing under his own name alongside other non-professional actors, blurring the line between performance and lived experience.
Shot with a handheld camera in confined domestic and natural environments, it presents bodies and personal interactions in ways that Iran’s official cinema has avoided for decades.
Iran’s film industry has long operated under strict state supervision. Filmmakers must obtain permits before production and submit their work for approval before release, complying with detailed regulations governing dress, gender interaction, and visual representation.
The depiction of uncovered hair, physical contact, or intimate private settings has been tightly controlled for decades.
Those restrictions remain in place. But in the years following the 2022 “Woman, Life, Freedom” protests and the subsequent crackdown, a growing number of artists appear increasingly willing to ignore them.
Rather than seeking official approval, some filmmakers are producing work independently inside Iran, outside the formal licensing system. These films are typically made with small crews, limited resources, and discreet production methods, then screened abroad.
The Berlin International Film Festival, known as the Berlinale, is one of the more prominent platforms for global cinema which has screened and awarded top prizes for such works.
This year, another Iranian underground film, Dream, directed by Mahnaz Mohammadi, was also selected for screening outside the main competition. Together, the two films reflect the continued presence—and evolution—of filmmaking beyond state oversight.
Many unlicensed films focus on political themes or censorship itself. But a growing number of filmmakers are disregarding it altogether, treating creative autonomy as a given rather than a subject.
In this context, the significance of Cesarean Weekend lies less in its narrative than in its production. Scenes involving bodily intimacy and private life were filmed inside Iran itself, despite rules designed to prevent such imagery from being created or shown.
