Tatami

An unexpected surprise and a very good film. The idea of black and white film from the Women's Judo World Championships sounds quite unattractive and bland at first glance, but I guarantee that by the 10th minute you'll be glued to your screen and biting your nails. The protagonist is an Iranian judoka who wants to fulfill her dream of winning a gold medal. After being unexpectedly successful, she starts getting threats from the government to pretend to lose immediately or she will be branded a traitor to the nation – she is in danger of meeting her rival from Israel. A lot of psychological pressure is also put on her trainer, but the protagonist refuses to agree to their rules, thus endangering her family as well. Excellent cinematography, solid performances, an uncomfortable and suffocating atmosphere that is solidly built up, the fights are surprisingly solidly, the dialogue is engaging and you are disgusted by the warped Islamic regime. Really good stuff 85%. (01.10.2024)

Love and judo will triumph over lies and bastardry. Four-fifths of the film are an absolutely breathtaking thriller where several interconnected storylines escalate, interspersed with first-rate filmed and edited bouts. A proof of this is the audience obediently twitching with moments of plot twists and finishing moves. The high-contrast black-and-white camera this time interestingly utilizes its very narrow focus range, as most of the time it is in motion, including dialogue scenes, so the actors often step in and out of focus, adding authenticity, dynamism, and nervousness. My only problem is that for some reason, the film has to explain with a simple monologue what it was actually about at the end, even though it was safely readable until then, and the epilogue simply dilutes the whole nerve-wracking pace. An important element there is the acknowledgment of the fact that with their actions the protagonists probably screwed up the lives of everyone they left behind, but this raises an important theme that if you silently coexist with a despotic regime, you become part of it and must accept the consequences that it can start acting despotic towards you at any time, arbitrarily. Surprisingly, from that perspective, I was touched by the protagonist's husband, who, after learning that his wife has decided to win the tournament despite orders from above, stands by her, packs up the child, and emigrates from the country within three hours. (21.10.2024)

If anyone still believes that sports and politics don't mix, they should drop that naive notion immediately — these two have always been intertwined and always will be. Tatami brings this to life through the story of an Iranian judoka who defies the absurd demands of the Islamic regime, refusing to comply at a huge personal cost. This inspiring tale of a strong woman and her courage stands out with its refined presentation — the choice of black-and-white cinematography and the 4:3 aspect ratio intensify the tension of a story mostly set in a single hall in Tbilisi during the Judo World Championships. The film’s intimate and focused narrative is elevated by dynamic camera work that gets under your skin, ramping up the tension. The brilliantly edited judo matches are another highlight. Altogether, this creates a deeply compelling experience that will stay with me for a long time. (14.08.2024)

Iranian cinema’s quiet resistance continues to captivate me, especially as the repression in Iran grows increasingly brutal (the country now second only to China in annual executions). From the legendary Persepolis to Jafar Panahi’s brilliantly subversive Tehran Taxi, to the haunting The Seed of the Sacred Fig, which depicts the regime's brutal crackdown on youth revolt, and whose director and lead actors have had to flee into exile after filming, facing prison sentences and knowing their loved ones back home remain at risk. Tatami is a beautifully crafted, profound film about resistance to oppression, capturing its complexity. The story unfolds through a deeply personal lens, with the protagonist, Leila, confronting difficult choices across every aspect of her life—personal, familial, professional, and national. Each of these realms presents its own stakes: tangible loss if she resists, but a far deeper, spiritual loss if she conforms. Maryam’s character serves as a great counterpoint—she’s far less daring than the trailers suggested, contrasting sharply with Leila’s resolve. Similarly, Leila’s father and husband are set up in opposition, guiding her path away from her father’s weakness and toward the shared convictions she has with her husband. This alignment with her husband is based on mutual values and a deep love that’s more important to them than anything else. Leila won’t let herself be blackmailed by threats to her son or her parents. She knows that to live or die with love and dignity requires a certain way of being—and nothing less is worth it. What’s stunning about this film is that it doesn’t spoon-feed or preach but captures a life-changing drama as it unfolds in a tight, intense experience. And under these circumstances, the sheer courage of the filmmakers—creating a collaborative Israeli-Iranian project that dares to show all of this—is nothing short of remarkable. Beyond that, the film works flawlessly as a compelling sports drama with layers of political and human depth and universal appeal. I won’t spoil too much, but there’s a breath-stopping moment where you wish you could rewind time—a minute of grappling with what just happened before you realize it was inevitable. Absolutely unforgettable. Hard to believe the same Guy Nattiv who brought us this also directed the rather underwhelming Golda. (23.10.2024)