Tatami
U.S.A./U.K./Georgia 2023

Opening 1 Aug 2024

Directed by: Zar Amir Ebrahimi, Guy Nattiv
Writing credits: Elham Erfani, Guy Nattiv
Principal actors: Arienne Mandi, Zar Amir Ebrahimi, Jaime Ray Newman, Nadine Marshall, Lir Katz

Leila Hosseini (Arienne Mandi) specializes in judo and represents her country, Iran, in the Judo World Championship in Tbilisi, Georgia. She is accompanied by her coach, Maryam Ghanbari (Zar Amir Ebrahimi). Her partner Nadar (Ash Goldeh), their son Amir, and many family members all sit at home watching her success on TV. She easily wins the first six competitions against such countries as Canada, Brazil, and Germany, to reach the quarterfinal. Now there is a serious problem. Israeli Shani Lavi (Lir Katz) is also winning and it looks as if the two will soon face each other. Politicians in Iran do not allow contact with Israel and worse, fear a disgrace if Leila should lose. They put pressure on both her and her coach Maryam, as well as her family in Iran. She should pretend to have an injury in this quarterfinal and drop out, thus preventing a possible competition against Israel. Maryam agrees, but Leila continues, determined to win the gold medal. Fearing danger, Nadar takes Amir and drives away, before the Iranian Security Services arrive at their house. Leila’s parents are now under their control and beg her to quit.

Here we have 105 minutes in black and white of women “fighting” each other in the sport of judo. The film starts with us sitting in a train with Muslim women wearing the required headdress and ends with us once again sitting in a train, this time in a more European atmosphere. We learn terms describing various phases of the sport. The action is supported by excellent music which keeps us on the edge of the seat. This is the first feature film ever made together by an Israeli and an Iranian; it has appeared in film festivals, winning prizes in Venice and Tokyo. Tatami is excellent in its topic, as well as its actors, and definitely worth our consideration. (Becky Tan)

Second Opinion

Tatamis are the floor used for competitions in martial arts; during the World Judo Competition in Tbilisi, Georgia, it is where none of the judoka combatants want to be, unless they are in control. Just prior to its start the arena is electrifying, anticipation is tangible, and Leila Hosseini (Arienne Mandi) is adrenalin charged. Maryam (Zar Amir Ebrahimi, Holy Spider, 2022), her no-nonsense, tough coach with an impressive judoka track-record, monitors Leila’s every move in and out of the athletes’ well-guarded training area. They are determined to take the gold medal for Iran.

Before the competitions begin Leila phones Nader (Ash Goldeh), surrounded by friends and family watching televised coverage in Iran, who cautions his wife, “concentrate on you.” During Leila’s first match with Hungary, Maryam yells advantageous moves, countermoves from the sideline; round three pitches Leila against the stronger, bigger Canadian. Israel’s contender Shani Lavi (Lirr Katz) also moves ahead. Following the second, more strongly worded surreptitious phone call, Maryam tells Leila, “…loose now or you’ll pay.” “This is my tournament,” hisses Leila, continuing her training in-between matches. The Islamic Republic’s representatives (Valeriu Andriuță, Sina Parvaneh) increase pressure. Tremendously edgy, the women attract the attention of a world championship official (Jaime Ray Newman) that is familiar with Iran’s pugnaciousness. Leila, tense, nervous, scared yet infuriated, sends out warnings, Nader’s adamant “you can do it,” and Maryam turns her back. Teetering precariously, usual protocol and proprieties wildly fluctuate, and their personal match moves toward the hair-raising "golden score."

Israeli Guy Nattiv and Iranian Zar Amir Ebrahimi’s combined directorial force delivers a nail-biting thriller that is smart, succinct, and sensational. Arienne Mandi and Zar Amir Ebrahimi’s emotionally nuanced and fiercely mood-driven performances while displaying reticently controlled demeanors lead the stellar cast. Cinematographer Todd Martin and editor Yuval Orr atmospherically create the ambiences, tensions on the different levels within the arena thus expanding the physical boundaries to include the characters’ psychological boundaries with accompanying quandaries. The only slight hiccup is Orr’s disjointed insertion of Leila and Nader’s flashbacks. Dascha Dauenhauer’s vivid, haunting score partners with the action.

Iran has been the subject of a few recent films that most pointedly bares the regime’s dictate for tribal loyalty, even though the top echelon reeks with overbearing sanctimoniousness. Tatami gives audiences a taste of just what is at stake for those brave enough to say no. (Marinell Haegelin)