Tag: Zar Amir Ebrahimi

Judo contender risks ayatollah’s wrath

Iranian martial artist Leila Hosseini (Adrienne Mandi) contemplates her next move after her government orders her to withdraw from an international judo competition.

By Richard Ades

One of my favorite movies of 2024 was The Seed of the Sacred Fig, about a family torn apart by Iran’s theocratic dictatorship. In the same year, one of my favorite guilty pleasures was Cobra Kai, the Karate Kid-inspired TV series that was wrapping up its six-season run.

So maybe it’s no surprise that one of my favorite films of 2025 is Tatami, which combines a jab at Iranian authoritarianism with youthful martial arts.

Before you let your imagination run wild, no, this is not the tale of two dojos that trade chops and kicks while arguing over Islamic principles. Instead, it centers on Leila Hosseini, an Iranian athlete who travels to Tbilisi, Georgia to take part in an international judo competition.

Portrayed with fierce determination by Adrienne Mandi, Leila psyches herself up for what she knows will be a grueling test of her skill and stamina. In one long day, a series of bouts will pit her against some of the world’s toughest competitors.

Providing advice and pep talks from the sidelines is her coach, Maryam Ghanbari (sensitively played by Zar Amir Ebrahimi). Between matches, Leila receives additional support via phone calls from her cheerleading husband, Nader (Ash Goldeh), who’s watching the proceedings on TV along with their young son and a houseful of relatives.

Leila (Adrienne Mandi, right) and her coach, Maryam Ghanbari (Zar Amir Ebrahimi), find themselves in an unexpected dilemma.

Then something happens that in most societies would be unthinkable. Coach Maryam receives orders from government officials that Leila must throw a match, fake an injury or simply withdraw from the competition. The reason: Leila’s early successes make it likely that she’ll end up vying for the championship with the top competitor from Iran’s mortal enemy, Israel.

The order reportedly comes from the “Supreme Leader” himself, the ayatollah, which means disobeying would spell big trouble for Leila, her coach and even her family. Realizing the danger, Maryam urges Leila to do as she’s told, even though it means giving up her lifelong dream.

Stubbornly, though, Leila refuses. Her decision immediately ostracizes her from her coach and teammates, leaving her on her own as she returns to the mat over and over to encounter increasingly tough competitors. All the while, the governmental threats continue.

Leila (Adrienne Mandi, in white) meets her latest competitor while competing for an international title.

Co-directed by Israeli filmmaker Guy Nattiv and Ebrahimi, the Iranian-born actor who plays Maryam, Tatami effectively combines sports action with political intrigue to create a tense viewing experience. Todd Martin’s stark black-and-white cinematography gives the film the look of a vintage documentary, lending it an air of veracity.

Indeed, the script by Nattiv and Elham Erfani is said to be inspired by actual athletes’ experiences. That doesn’t mean it all rings true, as one key development seems as contrived as it is predictable.

Even so, committed performances by Mandi, Ebrahimi and the rest of the cast keep viewers attentive and concerned, while composer Dascha Dauenhauer’s music underscores each scene’s emotions without ever overplaying its hand.

Coming out in the midst of the current confrontation among Iran, Israel and the U.S., Tatami’s timing is near perfect—just like the film itself.

Rating: 4½ stars (out of 5)

Tatami (no MPA rating) can be viewed in select theaters and is scheduled to open May 27 at the Gateway Film Center in Columbus.

Abused Iranian seeks refuge Down Under

The title character (Zar Amir Ebrahimi, left) and her daughter, Mona (Selena Zahednia), in Shayda

By Richard Ades

Shayda is the story of an Iranian woman who flees a bad marriage by hiding out in a shelter for abused women.

The title character is played by Zar Amir Ebrahimi, who expressively conveys Shayda’s fears as she faces cultural and legal forces that limit her options despite the fact that she and her husband are temporarily living in Australia. Perhaps her greatest fear is that even if she wins a divorce, she could end up losing custody of her daughter.

The story is inspired by the real-life experiences of writer-director Noora Niasari, whose mother went through a similar ordeal. That explains why Shayda’s fears ring true, including her paranoia that husband Hossein will somehow discover the shelter’s secret location.

That also might explain why the character who affects us the most is Shayda’s daughter, Mona, who basically represents Niasari herself. But it certainly helps that Mona is played by a talented young actor named Selena Zahednia, whose face and voice register every emotion the girl is experiencing.

When Shayda and Mona first arrive at the shelter, the daughter is peevish and complains about missing the foods and relatives they’ve left behind in Iran. She even seems to miss her father, though she’s witnessed at least some of his brutish behavior toward her mother.

Then Hossein wins a court order granting him unsupervised visitations with his daughter, and Mona begins undergoing a subtle transformation. At first won over by her dad’s hugs and gifts, she becomes increasingly alarmed by his questions about Shayda’s comings and goings. And she feels uneasy when he asks her to keep confidences from her mother.   

As Hossein, Osamah Sami gives an unnerving portrayal of a man whose fatherly feelings may be subservient to his anger toward his wife and his patriarchal sense of entitlement.  

It’s easy to conclude that Hossein is shaped by his Muslim beliefs and that the movie is an attack on the culture that spawned them. But the flick’s main target is actually wider, as the shelter where Shayda finds refuge also houses women of other nationalities, including the UK. In other words, abuse of women is depicted as a universal problem.

Speaking of universality, the film’s main weakness is that it defines Shayda as an abused wife and devoted mother, but it fails to fill in the details that would help us understand her as an individual.

What is her background? Why is she in Australia? What are her career goals? The answers to such questions are eventually given (or at least hinted at), but in the meantime she simply comes across as a scared woman who’s desperate to change her life.

It’s one more reason why Mona stands out as the film’s most relatable character.

Rating: 3½ stars (out of 5)

Shayda (PG-13) opens April 5 at select theaters.