Reflections on My Career
When I reflect on my acting career, both in Iran and in Sweden, I find reasons to feel satisfied. During my years in Iran, I was deeply fulfilled by the roles I played and the works I contributed to. Here in Sweden, I’ve also found satisfaction in continuing my profession and breathing the air of a cultural and artistic environment. However, the sense of reflection and recognition one desires as an artist is often different in exile. While Swedish audiences appreciate the work, and their encouragement is heartening, the discussions and feedback rarely connect to my identity, my people, or my culture. This creates a distance that is hard to bridge and leaves a void in the satisfaction one feels.
Nonetheless, I remain grateful to be doing what I love. To create and perform, even in a foreign language and culture, is a privilege that I do not take for granted.
Observations on Swedish Cinema
Swedish cinema is an interesting field, though it operates on a much smaller scale compared to other countries. On average, Sweden produces around 40 films per year. With a population of just over 6 or 7 million, these films primarily cater to domestic audiences and, to some extent, to viewers in neighboring countries like Norway and Denmark. This limited audience makes it difficult for producers to achieve financial success, often driving them to invest in international markets, particularly Hollywood.
Government support plays a crucial role in sustaining Swedish cinema, and while the system ensures a steady flow of productions, the diversity of themes is somewhat limited. Many films explore similar subjects, and it is rare to come across a truly innovative or groundbreaking work. Technically, Swedish cinema is not far ahead of Iranian cinema, but the planning and organization here are far more systematic. Films rarely deviate from their schedules, which is a marked contrast to the unpredictability often seen in productions elsewhere.