SHORT BIO
Azad Larki, born in Iran and now based in Sweden, is a filmmaker renowned for his ability to craft
powerful and thought-provoking stories. Fleeing his homeland in 2019 due to political threats, Azad
has drawn from his personal journey to create films that explore themes of identity, resilience, and
social justice.
Azad’s debut film, Nummer 11, marked the beginning of his artistic career and received widespread
acclaim. The film, known for its raw storytelling and emotional depth, earned several awards at
international film festivals. It established Azad as a filmmaker with a distinctive voice and a
commitment to highlighting untold stories and marginalized perspectives.
Since then, Azad has continued to build a portfolio of impactful works that bridge cultures and foster
understanding. His artistic style blends realism with poetic imagery, reflecting his unique perspective
and dedication to using storytelling as a tool for connection and change. Through his films, Azad seeks
to inspire dialogue and drive meaningful social transformation.
Was there a particular event or time that you recognized that filmmaking is your way of telling stories?
I was on tram number 11 in Gothenburg, which connects the city’s poorest area to its wealthiest. As
someone who had just fled to Sweden, I realized that I had an observer’s perspective on both Iran, my
homeland, and Sweden, the place where I now live. I felt that I didn’t fully belong to either society. The
contrasts between the two were always visible, but I also saw many similarities in terms of societal
challenges that all countries share. At that moment, I felt that perhaps my purpose in life could be to tell
stories about these challenges and work to address them.
Do you think it is essential to go to a film institute in order to become a successful filmmaker?
Not at all. Personally, I have never attended an art school. For me, filmmaking is primarily about perspective and a passion for storytelling, which ignite the desire to create films. However, mastering your craft does require practice and experimentation, and a formal artistic education can certainly help you refine your storytelling style.
That said, I believe being an active part of the working class in society can provide more inspiration than
being immersed solely in artistic circles. Life experiences, especially those shaped by real societal
dynamics, offer invaluable insights and stories that can fuel meaningful and authentic filmmaking.
Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?
It can vary depending on the project, as challenges often reveal themselves at different stages. For The Writings on the Wall, starting was quite easy, fueled by a strong passion for the fight for freedom of expression in Iran. However, as the project progressed, I encountered significant challenges.
The risks became clear, particularly with the Iranian government’s surveillance apparatus posing safety
threats. Additionally, finding actors willing to take on potentially dangerous roles proved difficult, which
made continuing the project much harder.
To overcome these obstacles, I reminded myself of the people in Iran who have sacrificed their lives on
the streets fighting for freedom. Their courage and determination gave me the strength to persevere,
even in the face of significant risks.
What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?
The most important lesson I learned was adaptability. When I couldn’t find an actor to play the antagonist due to safety concerns, I had to step in and take on the role myself. This experience taught me the value of being flexible and resourceful in filmmaking.
It was a challenging decision, but it allowed me to push the project forward despite the obstacles. By
stepping outside my comfort zone, I not only grew as a filmmaker but also deepened my understanding
of the characters and story, which ultimately enriched the film.
What were the production realities from casting through editing that you had to accommodate? How
did you navigate those compromises or surprises and still end up with a cohesive film? From the
beginning, we had very little money to work with, but what truly helped was the overwhelming support
from volunteers. People stepped in to fill roles across the project because they wanted to support the
people of Iran. This sense of solidarity made resource management much more feasible.
Another challenge was the ambitious and idealistic scope we had set for the project. It included two
performances, a short film, and a digital art exhibition, all centered around the themes of the fight for
freedom of expression and human rights in Iran, with a particular focus on the “graffiti war” on the walls
and streets of Iranian cities.
To navigate these challenges, we streamlined our goals and prioritized elements that would have the
strongest impact. The dedication and shared passion of everyone involved helped us stay on track and
create a cohesive and meaningful piece despite the limitations.
What was the hardest artistic choice you made in the making of a film, at any stage in production?
The hardest choice was basing the short film on a live performance. Capturing the raw energy and
immediacy of live art while adapting it for film was challenging, but it ultimately added authenticity and
depth to the project.
You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?
I discovered team members through shared values and a mutual commitment to fighting for the same goals. Keeping the relationships strong comes from open communication, mutual respect, and working together towards a meaningful purpose.
What do audiences want? And is it the filmmaker’s role to worry about that?
Audiences want new perspectives and entertainment in the same package. As a filmmaker, it’s definitely
important to consider this while staying true to the story you want to tell.
What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?
When my debut short film won awards at Frame Film Festival, it gave me both confidence and a good reputation, which helped me continue my filmmaking journey. Festivals are crucial for recognizing the time and energy that teams invest in their projects. To make the most of them, I focus on networking, learning from others, and celebrating the art of storytelling.
Do you believe that a filmmaker should be original and fresh or he/she should stick to classic but safe cinema style?
There is value in both.
