The Iranian revolution leads to the Shah’s downfall and the installation of the Islamic Republic. Avoiding the more sensational elements of the news, this film questions Iranian society as a whole in an attempt to understand what this wave of change means for the Muslim world.

Distribution

Director: Jocelyne Saab, journalist: Rafic Boustani, DOP: Jocelyne Saab, production: Jocelyne Saab, copyright: Jocelyne Saab Association.

Jocelyne Saab’s word…

“When I took stock of everything I had made in Beirut (three films), which is the symbol of my country, I was in a period of doubt, so I travelled to the Sahara, to Iran, to Egypt… I was interested in going to these countries in order to see if I was seeing things right.

I realized that intuitively I was taking the same approach: in Iran, I was fascinated by the revolutionary period, something I knew about: stabbings, the fall of the Shah. I found there all the stench of revolution that I had known, to which I had adhered: a movement of American students at Woodstock in 1968. I arrived at the end of the revolutionary period and then everything collapsed. I once again played with impressionism, let my feelings run free.

The film is called Utopia On The Move to underline this past movement, this new sectarian ideology that was being built and the dangers towards which the country might head.”

Words collected by Sylvie Dallet in Paris in 1983.

Statement of intent

“The revolutions of the last three centuries have all been inspired by philosophers.
The philosopher understands things. He speaks to the spirit.
The prophet feels them. He speaks to the heart.
And the peoples of the world respond better to appeals to the heart than appeals to the spirit”, prophesied Ali Shariati, the well-known Iranian thinker who died before the outbreak of the Iranian Revolution.

This film, shot during the first months of the ‘Persian Spring’, stands as a testament to an historical moment at which anything is possible. Thirty-five million Iranians seek, in the utopia of a new Islam, to reclaim their cultural identity. And the people’s aspiration to freedom, for too long suppressed by the Shah’s dictatorship, is expressed in contradictory ways. The camera therefore follows the electoral campaign of a liberal-leaning deputy in the Isfahan bazar; violent tirades at Tehran University between the supporters of Shariati and those of Khomeini. In the streets of the capital, the objective viewpoint captures the punitive actions of the new thugs of Islamic purity: the Hezbollahis.

We likewise witness the training of the first Basijs and Pasdarans, armed by the emerging Order whose mission is to fight against autonomist tendencies. Because Iran is a multi-ethnic country. In the mountains of the North, the Kurdish minority also forms its brigades, the Peshmerga. In the East, the Baloutchistan tribes renew ties with their Afghani brothers on the other side of the border.
Iran, Utopia On the Move gives the viewer a frame of reference to help them understand the current dynamics of this region.”

Jocelyne Saab

Press review

« Portrait réussi d’un pays qui cherche dans l’utopie d’un Islam nouveau à reconquérir une identité culturelle. »

The Asahi Shimbun, 1981

«Nous découvrons dans l’Utopie en marche comment la secousse iranienne a ébranlé l’édifice mondial et l’équilibre imposé par les deux grandes puissances USA et URSS, et a fait jaillir le courant de l’intégrisme Islamique. »

Sveriges Television, 1981