Yalda, A Night For Forgiveness: Begging a pardon on a night for forgiveness

Navnee Likhi

Iranian filmmaker Massoud Bakhshi’s Yalda, A Night For Forgiveness, centres around Maryam, a 22-year-old Iranian woman, who accidentally kills her 65-year-old husband Nasser during a fight and is sentenced to death. The story is set in Iran and Maryam’s plea for forgiveness takes place on Yalda, the night of the Persian of festival, which is defined as the longest night of celebration welcoming the arrival of winter season. According to the law in Iran, Maryam, who had been married for a year, has to appear on a popular TV reality show called Joy of Forgiveness and seek forgiveness from her 37-year-old stepdaughter Mona. The one-hour-long show, watched by millions across the country, is a mix of TV docudrama and variety show, where Maryam confronts Mona, who will make her decision and a text vote by viewers and the audience present in the studio will decide Maryam’s fate.

This age-old tradition in Iran is human, though without any basis in law. Appearance of a family member does not cost money, neither does it give any fame, only the victim’s life is at stake. Maryam resists the absurd idea of begging for her life on the national television. The film is a fictionalised account of true events. Grim scenes follow which keep one on the edge. Maryam puts up with Mona’s indifferent attitude. Both women go through tough times and pour out their feelings in the process. The story of the film does not shame Iranian culture, though following such age-old practices is incongruous with the changing times.

The film begins with a night view of Tehran city buzzing with traffic flow. A sea of light blazes the city, showing the celebration of Yalda festival. The families across the country are united and feast and engage in customs such as reading poetry. On the other hand, Maryam pleads for mercy from Mona. Maryam arrives at the TV studio in handcuffs and looks stressed and agitated. She is accompanied by her mother, who shows weird excitement. Maryam’s innocence will be challenged and her motives questioned. The show’s authoritative producer Ayat, the handsome host and a cool criminal lawyer boost Maryam’s morale but they have to play the system in a manner that satisfies all. The succeeding scenes show Maryam’s nervousness and lack of self control, which threatens her hope for a happy ending. She has already served 15 months in prison and is emotionally shattered while her clumsy mother bothers everyone on the set and jeopardises her pardon. Intercut is the scene with flashback of Maryam’s life with Nasser Zia. The mystery of his death unfolds. He was an old wealthy businessman. He confesses his love to Maryam, who is his driver’s daughter and convinces her to agree to the infamous practice of temporary marriage, which avoids sin, according to Iranian tradition, along with permanent marriage to come later. But Maryam disagreed to Nasser’s condition for marriage that they will not have children. She gets pregnant with her first child, which is still born. They both begin fighting. In the heat of argument, she gives Nasser a push that causes him a fatal head injury. He dies on the spot. Maryam is convicted to a death sentence. The prosecutor is eager to see her in prison. But if she wins the sympathy of the viewers and vote in her favour and forgiveness from Nasser’s daughter Mona, retribution in kind, ‘blood money’ will be paid by sponsors to Mona and Maryam will only face imprisonment for three to six years. Mona arrives late to the show, almost half way through it, dressed in black. She plays a broody woman with conflicted emotions towards young Maryam, who has killed her father and is enraged. It is Mona’s plan that as she gets the blood money, she will move abroad. But her expected forgiveness is put to question. The viewers furiously text voting, many in favour of death and some for forgiveness. This last minute plot twist is packed with melodrama. This makes it tough for Mona to decide whether to forgive Maryam or not. Cinematography by Julian Atanasson is rich in muted colours. Editing by Jacques Comets is swift and fluid. Background score plays traditional Persian music. The film takes place over the course of a single night. Sadaf Asgari portrays the role of young Maryam as a shrill victim of circumstances who becomes hysterical and teary-eyed. Behnaz Jafari plays the role of Mona with calm dignity of the aggrieved and initially earns sympathy from viewers. Yalda, Night for Forgiveness reveals the complexities of justice in Iran.