Farnoosh Samadi is an Iranian award-winning director, writer, and member of the Academy. Samadi’s “The Silence” was nominated for a Palme d’Or at Cannes in 2016, and her short film “Gaze” won the grand jury award for Live Action Short Film at 2017 AFI Film Festival, allowing it to be considered for an Academy Award. “180° Rule” is her first feature film. 

“180° Rule” will screen at the 2020 Toronto International Film Festival, which is taking place September 10-20.

W&H: Describe the film for us in your own words.

FS: “180° Rule” is the first episode of a trilogy about lies, secrets, and what’s beneath. The main character of the film enters a world of darkness with just one lie and endures a sequence of punishments that she does not necessarily deserve.

W&H: What drew you to this story?

FS: When I decided to start writing my first feature film, I wanted to make a trilogy about lies, secrets, and hidden stories. Naturally, I went through various ideas and stories, but there was one story which had been haunting me all along and wouldn’t let go — it was a true story that happened to a friend of mine. That became the plot to “180° Rule.” 

The more I dipped into this story, the closer I felt and it became more and more tangible, a real drama which had influenced me deeply and I just knew could touch the hearts of viewers. When I was done with the first draft, I knew it was the first episode of my trilogy.

W&H: What do you want people to think about after they watch the film?

FS: What’s more interesting is how we each have different judgments of this story based on our very different life experiences and cultures — how we each dissect and define the characters through the story and then re-live it within ourselves. 

It’s of utmost importance to know that each of the viewers have connected with the film’s characters and [discuss their feelings about the story] — [I hope that they tell] their friends what they would have done if they were in such a situation.

W&H: What was the biggest challenge in making the film?

FS: Being a director is difficult anywhere in the world, but being a female director, especially in my country, Iran, is ten times harder. Now imagine it’s the production of your first feature film, too!

Even though I have a very strict [work ethic], on various occasions, I felt I was not taken seriously just because I was a woman! Although I have to admit that most of my colleagues were professionals, it seems it’s a cultural issue. The violence towards women in some people seems to be within their bones and blood – -it’s way harder to change their mindsets, but it’s possible.

On the other hand, making a film in a country like Iran, which [experiences] turbulence from the world’s traumas and outcomes (with sanctions, the soaring rate of the dollar, and oil), influenced all procedures of the productions.

W&H: How did you get your film funded?

FS: Unfortunately there are only a few institutes in Iran that grant you a loan to make a film, and there’s a long line to go through, and at the end of the day the loans are given to specific productions. 

To fill the gap, there are independent non-cinematic companies that are enthusiastic to invest in cultural projects, especially making movies. I was lucky to attract one of these companies to take interest in my CV and grant me the loan. I should also admit that the cost of the film production in Iran is nothing compared to Europe and the U.S.

W&H: What inspired you to become a filmmaker?

FS: There are many things that inspired me to become a filmmaker, but the most important motivation for me was to create, narrate, and produce the world and stories I carried in my mind -= to create and share my own world with others feels fascinating.

That you are the god of your own production, and have the power to shift and change everything along the way is just magical.

W&H: What’s the best and worst advice you’ve received?

FS: Best advice: “You can do it!”

Worst advice: “You can’t do it!”

W&H: What advice do you have for other female directors?

FS: To believe in themselves, their inner worlds, and beliefs. To know they can — they just need to put it in action and see how powerful they are.

We are lucky to be women and on top of that, making films, too. We can introduce and share our deepest feelings and complex minds to create visions and pictures that are so missed in our cinema today.

W&H: Name your favorite woman-directed film and why.

FS: One of my favorite female filmmakers of all time is Andrea Arnold. I watched her film “Red Road ” many years before I got into the world of cinema and I felt attached for a very long time. Her style of directing and her ways with her actors and actresses is always encouraging.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

FS: Luckily, at the start of the pandemic and lockdown, I had just finished filming and editing, so I had a great break from two years of hard work and could finally have a bit of time to myself. I watched films, read books, and did some painting. I have meditated and played some sports. 

Gradually I started with my next project, my new screenplay, and it’s going really great. My new screenplay needed time for research and the lockdown was just in time for that. I hope I finish my screenplay in the next few months.

W&H: Recent protests in the U.S. and abroad have highlighted racism and anti-Black police brutality. The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

FS: Unfortunately, it’s been a tradition in Hollywood to underrepresent other races and make white Americans the only heroes. This approach is evident even in the films by masters of classic cinema about Native Americans. I believe overrating these kinds of films or artwork [regardless of] their quality of production has to be stopped and [we must create] a culture where everybody respects every race. 

Unfortunately, [white supremacy] is not just happening in American films, but also [among] American politicians — and, above all, Mr. Trump [and his many racist actions]. After four years, people from some countries like Iran can not travel to the U.S. [We have to consider how people are being educated and how this culture is being created] — not only in education people receive in school, but also in their society, family, and the media. Everyone from teachers to politicians has to create an ambiance where everybody has equal rights and people believe that there is no difference between races and cultures.

[I’m happy that] recently there have been some movements in Hollywood creating this culture. For instance, making films about Black superheroes and other races was a good step.