{"id":25940,"date":"2023-04-10T09:01:57","date_gmt":"2023-04-10T07:01:57","guid":{"rendered":"https:\/\/themarkaz.org\/oldsite\/?p=25940"},"modified":"2023-04-10T09:01:57","modified_gmt":"2023-04-10T07:01:57","slug":"seven-winters-in-tehran-and-the-execution-of-reyhaneh-jabbari","status":"publish","type":"post","link":"https:\/\/themarkaz.org\/oldsite\/seven-winters-in-tehran-and-the-execution-of-reyhaneh-jabbari\/","title":{"rendered":"<em>Seven Winters in Tehran<\/em> and the Execution of Reyhaneh Jabbari"},"content":{"rendered":"<p>Malu Halasa talks to the director of a new documentary about the cause c\u00e9l\u00e8bre of Reyhaneh Jabbari, executed in Iran for the murder of a man who attempted to rape her.<\/p>\n<p>&nbsp;<\/p>\n<h4>Malu Halasa<\/h4>\n<p>&nbsp;<\/p>\n<p>As monolithic and all-powerful as the Islamic Republic of Iran is, its secret vulnerabilities are revealed by the troubling but illuminating documentary <em>Seven Winters in Tehran,<\/em> directed by Steffi Niederzoll.<\/p>\n<p>The film recounts the tragic story of a near rape victim who killed her perpetrator in self-defense, the failed campaign of a mother to save her daughter from execution, and the determination of ordinary people in facing down a corrupt system. There is no happy ending, yet <em>Seven Winters<\/em> still inspires and empowers.<\/p>\n<p><iframe loading=\"lazy\" title=\"Seven Winters in Tehran \u2022 Extrait\" width=\"750\" height=\"422\" src=\"https:\/\/www.youtube.com\/embed\/P2v6xJns9V4?start=53&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe><\/p>\n<p>In 2007, 19-year-old Reyhaneh Jabbari was studying computer science. In earlier times, as shown from home video footage featured in the documentary, she was a happy, bubbly young woman who had a bright future ahead of her. She worked part-time as an interior decorator, and was approached and befriended by Morteza Sarbandi, purportedly a plastic surgeon. He had plans, he said, to renovate a new clinic space, and he invited her to an empty apartment.<\/p>\n<p>Reyhaneh was taking measurements and making notes, when Sarbandi accosted her. To defend herself, she grabbed a knife on a nearby table. He goaded her, daring her to stab him \u2014 he said he could take it. She did, in his shoulder. Reyhaneh fled after a friend of Sarbandi\u2019s came to the apartment. Later that evening, Sarbandi died from his wounds.<\/p>\n<p>In the middle of the night Reyhaneh\u2019s mother, <a href=\"https:\/\/rss.com\/podcasts\/twoandamic\/850287\/\">Shole Pakravan<\/a> (pronounced Sholeh), woke to find policemen in her house. They took her eldest daughter away. For 58 days her family was not allowed to see or talk to Reyhaneh. The police tortured her and threatened to arrest and torture her mother and two sisters. Reyhaneh gave a false confession, which was used as evidence against her in court.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u201cYou Should Have been Raped\u201d<\/strong><\/p>\n<p>The first judge who heard the case was sympathetic to the young woman\u2019s plight. His replacement, a hardline religious judge, told Reyhaneh it would have been better if she had been raped to avoid the situation she was now in. Reyhaneh was convicted of Sarbandi\u2019s murder. Under the Islamic state\u2019s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Qisas\"><em>qis\u0101s<\/em><\/a><em>,<\/em> an antiquated law of blood revenge or retribution, the family of the murdered victim can determine Reyhaneh\u2019s punishment.<\/p>\n<p>During the seven and a half years she spent in prison \u2014 the seven winters in the title of the film \u2014 her mother Shole waged a campaign to uncover the truth of what happened to her daughter. It came out that Morteza Sarbandi was not a plastic surgeon after all. He trained people in self-defense in the Quds Force, a militia headed by Qasim Soleimani, who was assassinated in 2020, in Iraq. Sarbandi had many businesses. His work for the <a href=\"https:\/\/www.britannica.com\/topic\/Quds-Force\">Quds Force<\/a>, formally part of the IRGC (Islamic Revolutionary Guards Corp) in part explains why Reyhaneh was vilified in the Iranian press, with a campaign of disinformation, rumor and conjecture that darkened her character. Shole\u2019s campaign to save her daughter went viral on Facebook. Iranian officials were asked about Reyhaneh\u2019s case whenever they made state visits to Europe.<\/p>\n<p>Relatives kept vigil outside the final prison to where Reyhaneh had been taken, and filmed Shole covertly, as she waited to learn if Reyhaneh had been granted clemency or was going to be executed. This was the initial footage seen by Steffi Niederzoll. It was shown to her by Reyhaneh\u2019s relatives, who were refugees in Turkey. Niederzoll, then on holiday, had known of Reyhaneh\u2019s case from news reports in Germany. An artist and film school graduate, she was writing her first fictional film treatment. On repeated trips to Turkey, she and Reyhaneh\u2019s relatives became friends. They wanted her to make a film about the case. Although she wasn\u2019t sure if she was the right person to do it, she still wanted to help them.<\/p>\n<p>&nbsp;<\/p>\n<figure id=\"attachment_25942\" aria-describedby=\"caption-attachment-25942\" style=\"width: 1000px\" class=\"wp-caption aligncenter\"><img decoding=\"async\" class=\"size-full wp-image-25942\" src=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/04\/Reyhaneh-Jabbari-Seven-Winters-in-Tehran-Made-in-Germany.jpg\" alt=\"\" width=\"1000\" height=\"563\" srcset=\"https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/04\/Reyhaneh-Jabbari-Seven-Winters-in-Tehran-Made-in-Germany.jpg 1000w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/04\/Reyhaneh-Jabbari-Seven-Winters-in-Tehran-Made-in-Germany-600x338.jpg 600w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/04\/Reyhaneh-Jabbari-Seven-Winters-in-Tehran-Made-in-Germany-300x169.jpg 300w, https:\/\/themarkaz.org\/oldsite\/wp-content\/uploads\/2023\/04\/Reyhaneh-Jabbari-Seven-Winters-in-Tehran-Made-in-Germany-768x432.jpg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\" \/><figcaption id=\"caption-attachment-25942\" class=\"wp-caption-text\">Reyhaneh Jabbari before the day that would take her life, in <em>Seven Winters in Tehran<\/em> (courtesy Made in Germany).<\/figcaption><\/figure>\n<p>&nbsp;<\/p>\n<p>Meanwhile in Iran, after Reyhaneh\u2019s death in 2014, Shole had become a well-known human rights campaigner openly critical of the country\u2019s death penalty. After a state interrogator threatened her, she and Reyhaneh\u2019s youngest sister Shahrzad Jabbari fled Iran for Istanbul.<\/p>\n<p>Niederzoll was in a shop, copying material from Reyhaneh\u2019s relatives that she planned to take to Germany and get translated. She looked out of the window and recognized Shole. Their chance meeting convinced Niederzoll that she should make the film. In time, Shole and her daughter settled in Germany. Several years later her second daughter, Sharare Jabbari, was able to join them, although Reyhaneh\u2019s father, Fereydoon Jabbari, denied a passport, remains in Tehran.<\/p>\n<p><em>Seven Winters in Tehran<\/em> took five years to complete. Niederzoll had wanted to go and shoot in Iran, but was warned off by Iranian friends. The film could not have been made without the extensive archive Shole smuggled out of the country. Nor would it have been possible without the Iranian production team, and other anonymous people, who secretly filmed in Iran for the documentary.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Reactions to the Film<\/strong><\/p>\n<p>My conversation with <a href=\"https:\/\/www.imdb.com\/name\/nm2016688\/\">Steffi Niederzoll<\/a> takes place via Zoom between the film\u2019s European premiers. After the Berlin Film Festival, <em>Seven Winters in Tehran<\/em> was screened in London at the Human Rights Film Festival, at the Barbican; it also debuted in Paris at the same time.<\/p>\n<p><strong>TMR<\/strong>: What has the reaction been to <em>Seven Winters in Tehran<\/em>?<\/p>\n<p><strong>S<\/strong><strong>TEFFI NEDERZOLL<\/strong>: People have been so touched by the movie. After every screening we had such strong Q&amp;As. Some Iranians especially opened up. One said, \u201cI never spoke about it but my father was executed.\u201d Another said, \u201cI never spoke about it but my brother was killed.\u201d Or \u201cI never spoke about it but I was raped by a mullah.\u201d<\/p>\n<p>I get goosebumps because it\u2019s so \u2014 [the director\u2019s words fail her and her voice wavers] \u2014 I don\u2019t know, we always think that art can change something. I always had this idea that art can connect people. I\u2019m crying because it\u2019s really touching. We\u2019ve been collaborating with Amnesty International and other NGOs against Iran\u2019s death penalty. People want to take action.<\/p>\n<p><strong>TMR<\/strong>: The second trial judge\u2019s statement, that it would have been better if Reyhaneh had been raped was a clear indication of what Iranian women face in their country.<strong>\u00a0<\/strong><\/p>\n<p><strong>SN<\/strong>: This was the trickiness of the disastrous blood revenge law. In the case of Reyhaneh, Sarbandi\u2019s eldest son, Jahlal, \u201cowns\u201d her blood. He can forgive or not forgive. As soon as Shole started to speak to Western media and said that Reyhaneh was nearly raped \u2014 the chances that Jahlal might forgive Reyhaneh grew smaller. The more Reyhaneh\u2019s family fight for her honor, the less she will be forgiven by Jahlal\u2019s family. That\u2019s the super weird aspect of all of this.<\/p>\n<p><strong>TMR<\/strong>: The story seems one of conflicting honors. In the film, it\u2019s obvious that Jahlal wants to make a deal. He says he won\u2019t call for Reyhaneh\u2019s execution if she withdraws her charge that his father tried to rape her. That\u2019s the honor of his father and his family. Then there is the honor of Reyhaneh \u2014 in the Islamic justice system she\u2019s not allowed agency to protect it nor herself.<\/p>\n<p><strong>SN<\/strong>: Shole wanted Reyhaneh to erase [take back] the rape charge. Shole begged her daughter, \u201cSave your life.\u201d<\/p>\n<p><strong>TMR<\/strong>: Understandably.<\/p>\n<p><strong>SN<\/strong>: However, Reyhaneh wanted to stay with the truth. I think she could not stand that someone so powerful could just get rid of what had happened. She thought: \u201cThis is my truth, my dignity. This is the only thing I have.\u201d She had lost everything. She wanted to get married and have children. She also knew if she came out of prison, everything would be different. The only thing she has left is her dignity. This is her strength and this is why she became such a hero.<\/p>\n<p><strong>TMR<\/strong>: In such a fraught situation, it\u2019s easy to see people in stark terms, black or white, right or wrong, good or evil. Yet, <em>Seven Winters<\/em> is a nuanced film, and one gets the sense that for Jahlal and the rest of the Sarbani family, calling for Reyhaneh\u2019s execution, will not bring them peace.<\/p>\n<p><strong>SN<\/strong>: It was always important for me to not enter this \u201cblack and white\u201d terrain. I don\u2019t want to say Jahlal\u2019s a victim \u2014 because he\u2019s also a grown man, so he could have also taken a different decision. But for me, he is a victim of this patriarchal society. He has to fulfill <em>something<\/em>. I find this decision the state forces on him quite horrible. I feel sorry for him. However, he can also be seen to be doing wrong when he says he forgives. There is a whole system that will approve of him. When he\u2019s not forgiving there is another part of society, which will claim him.<\/p>\n<p>I didn\u2019t read the whole SMS conversation between Shole and Jahlal because part of it was lost. Of course, we showed only a tiny bit in the movie. After a while, at one moment I had the feeling, wow, okay, he is really considering pardoning her.<\/p>\n<p>Then in another moment we see how his speech changes. He becomes very strict. I think he was also under pressure.<\/p>\n<p><strong>TMR<\/strong>: In the film, one gets the impression he is wavering.<\/p>\n<p><strong>S<\/strong><strong>M<\/strong>: He cries, \u201cWhat should I do?\u201d If a guy like that cries in front of people, it is quite strong. I wrote a book with Shole, so I\u2019m deeply involved in this case. Both families got all this wrong information. The Sarbandis were so sure that Reyhaneh was a sex worker. Of course, if you hear that she is a bad woman, you assume that she must have no morality and entirely capable of killing your beloved father \u2026<\/p>\n<p>There were a few moments in this material that make no sense \u2014 and we\u2019re speaking about a lot [of material].<\/p>\n<p><strong>TMR<\/strong>: A wealth of documentation must have been smuggled out of Iran.<\/p>\n<p><strong>SN<\/strong>: Shole has a massive archive because she collected everything she could find. We\u2019re speaking about police reports, investigation reports. I read over 100 investigation reports from the time Reyhaneh was tortured. And, of course, Shole paid money for every little piece. She always found someone who maybe knew someone who could perhaps get a copy of this document or the other. She collected everything she could get over the years. For example Shole still has everything that was in Reyhaneh\u2019s bedroom, even \u2014 [Niederzoll pretends to pick up a piece of tissue and presses it to her lips to remove lipstick.] The first time she gave any of Reyhaneh\u2019s clothes away was to the Ukrainians because we\u2019re seeing so many refugees in Berlin.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Beyond Terabytes and Gigabytes<\/strong><\/p>\n<p><strong>TMR<\/strong>: <em>Seven Winters<\/em> couldn\u2019t have been made without mobile phone footage, which includes intimate moments of the family together when they were allowed to visit Reyhaneh in prison. You also included home movies that were shot when Reyhaneh and her sisters were growing up. How much material did you have?<\/p>\n<p><strong>SM<\/strong>: Normally, there are so many terabytes or gigabytes, so many hours. But I really can\u2019t say because much of it was in different formats. I had very old footage on VHS, Beta SP; mini disc; cassettes recordings from the children, lots of pictures, and mobile images, but really from 2007 onward, when the near rape took place.<\/p>\n<p>I had amazing audio recordings from the prison visits. For example, in 2007, Shole started to research what happened. She referred to it as the \u201cParents\u2019 Investigation.\u201d So you can tell that this one recording of Reyhaneh\u2019s voice in the film is from this time. Shole says to her, \u201cI record now, speak now.\u201d Then you hear Reyhaneh describing the incident in detail, and how it happened.<\/p>\n<p><strong>TMR<\/strong>: You built a model of an Iranian prison, which was reconstructed from photographs the family took inside of <a href=\"https:\/\/www.hrw.org\/reports\/2004\/iran0604\/5.htm\">Evin<\/a> and later in Shahr-e Rey, prisons where Reyhaneh was incarcerated. The model was filmed for the documentary. Because of this element of fictionalized reality, I erroneously assumed the photographs showing Reyhaneh\u2019s court case were also a reenactment of sorts.<\/p>\n<p><strong>SN<\/strong>: Those were documentary photos by the official court photographer, in Iran. She took those pictures. They are from the courtroom. There was one moment in 2014 when this photographer sent those pictures to Shole, and Shole started to use them in her campaign. Because of this, these pictures were widely available.<\/p>\n<p>Two of them became iconic, so I contacted the photographer, and officially requested the use of them. She sold them to us, but of course she wrote in an official statement, \u201cIn the name of God, I have to tell you I was witnessing this court, and Reyhaneh was claiming \u2026\u201d It was a disclaimer, or that\u2019s how I interpreted it. So the government can\u2019t go back to the court photographer, and say, you supported a movie that was against us.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Corruption on Earth<\/strong><\/p>\n<p><strong>TMR<\/strong>: Since you didn\u2019t go to Iran, you relied on the production company Zebra Kroop. Surreptitiously they shot film footage in Tehran for the documentary. If they had been caught, they would have been charged with <a href=\"https:\/\/iranhr.net\/en\/articles\/5669\/\">efsad-fil-arz<\/a> (corruption on earth). This is the same charge that has been brought against people who\u2019ve been arrested during the Woman, Life, Freedom protests, like the rapper and outspoken regime critic <a href=\"https:\/\/iranhumanrights.org\/2023\/04\/imprisoned-dissident-rapper-toomaj-salehi-voice-of-irans-protests-faces-possible-execution\/\">Toomaj Salehi<\/a>. Some of the protestors who were accused of this \u201ccrime\u201d were executed. You must have been aware of the risks Zebra Kroop faced?<\/p>\n<p><strong>SN<\/strong>: Of course, it was super dangerous what people were prepared to do for me. A lot of people took great risks for this movie. Zebra Kroop are specialists in smuggling out material, and shooting illegally in Iran. They didn\u2019t go <em>into<\/em> the apartment where the alleged rape had taken place, but they were just outside. That was dangerous because the apartment was next to a government building.<\/p>\n<p><strong>TMR<\/strong>: <em>Seven Winters<\/em> was started years before the women\u2019s protests, yet the film amplifies the grievances of women on Iranian streets and the difficulties they face, living under a hardline Islamic regime.<\/p>\n<p><strong>SN<\/strong>: In this movie I think you can see the tragedy because Reyhaneh is not a special case. Before her, women had the same destiny as Reyhaneh. Now, afterwards, a lot of people share her destiny, and not just women. Even so, there are layers [of complexity] when we speak about being a woman in Iran. I think you can see behind them a system of oppression that doesn\u2019t change. Over the years it sometimes looks a bit different because of the way women wear their headscarves. For a few months they can do it like this, or like that, but nothing really changes.<\/p>\n<p style=\"text-align: right;\">\u2014Malu Halasa<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Malu Halasa talks to the director of a new documentary exposing the cruelty of Iran&#8217;s Islamic regime.<\/p>\n","protected":false},"author":15,"featured_media":25941,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"footnotes":""},"categories":[17,22,23,51],"tags":[528,2527,1397,1444,1672,1823],"coauthors":[2023],"class_list":["post-25940","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","category-interview","category-islam","category-tmr-weekly","tag-documentary","tag-islamic-law","tag-prison","tag-rape","tag-tehran","tag-women-life-freedom","entry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin 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