THE STORY – Iranian judoka Leila and her coach attend the World Judo Championships, aiming for Iran’s first gold medal. During the event, they face an ultimatum from the Islamic Republic government.
THE CAST – Arienne Mandi, Zar Amir, Jaime Ray Newman & Ash Goldeh
THE TEAM – Guy Nattiv (Director/Writer), Zar Amir (Director) & Elham Erfani (Writer)
THE RUNNING TIME – 105 Minutes
Understandably, a sports arena can often be an appropriate setting for dramatic intrigue. Built within the framework is a very clear set of goals that need to be accomplished, as well as the obstacles that build that conflict and tension. Like with all great setups, this is a foundation for a broader commentary. The battle of personal determination to overcome the strength of an opponent to claim victory is a story that can be transposed onto a variety of landscapes. It can be a simple metaphor to reflect a character’s personal journey, but it can also become representative of larger themes at play. The geopolitical theater can become embodied by the players themselves, sent into battle on behalf of a state that ties a victory or loss with its own global standing. It’s a tactic employed many times, and “Tatami” utilizes it here as well. What it ultimately showcases is an often intriguing exercise, but that thematic examination is usually weighed down by a bluntness that undercuts its impact.
This particular tale centers around an international judo competition that is taking place in Tbilisi, and a host of highly qualified female athletes are competing to take the top honors. Among them are the members of the Iranian team, who are determined to bring home the first gold medal win for the country. The most steadfast of them is Leila (Arienne Mandi), who has tirelessly trained for this moment under the tutelage of her coach, Maryam (Zar Amir). However, during the competition, a serious complication arises. One of her opponents is Israeli, and the Islamic government balks at the notion of participating in any event where that nation may be represented. They deliver an ultimatum: fake an injury, withdraw from the tournament, or face the seismic consequences. Maryam pleads with Leila to take the fall, but Leila refuses to throw away years of hard work. As the hours pass, the anxiety of this situation intensifies. Both women find themselves caught in the crosshairs of a retaliatory regime that will stop at nothing to see them defeated, but one of them is set on overcoming this oppression.
There’s a vigorous intensity established right from the opening frames, a sensibility that will indulge in striking imagery while this pressure cooker of a situation only escalates as the stakes of every decision rise. The sharp black-and-white cinematography enhances these stark contrasts, building a world that feels brutal and cruel but also can’t help but maintain an enchanting beauty all the same. Amir co-directed the film with Guy Nattiv, and they craft an oppressive yet wholly captivating environment. The staging of the judo fights is a little stiff at first, but as the emotional weight grows heavier for these characters, so too does the filmmaking’s inventiveness in capturing a chaotic state of mind while trying to persevere. The falls to the floor become more impactful, and the gasps for breath while in a chokehold are potent in their showcase. As the percussive score drones on, the atmosphere of dread is thick and engrossing.
However, these aspects must contend with a narrative that too often avoids any nuanced approach to this environment, ultimately preventing this piece from manifesting a greater impression. Perhaps it is no surprise that the director of the Oscar-winning short film “Skin” would be one who isn’t terribly interested in subtleties, but the storytelling suffers for it. The dynamic that pits the nations of Iran and Israel against each other in this arena (incredibly prescient timing that could not have been foreseen) is quite compelling, but this dilemma only gives one perspective. The Israeli competitor is hardly mentioned throughout and seems like a vital piece missing from the drama. It’s also hard to believe the committee overseeing the event has any real power to stop the Iranian government from kidnapping Leila’s family members as a means to intimate her, so the inclusion of their possible interventions always comes across as a little superfluous. Nattiv and Elham Erfani’s screenplay has a direct approach in its themes and messaging, as blunt as the distracting sports commentators are that puncture every match with broad exposition that diffuses the engaging spectacle. The themes may be interesting, but the execution is often a tedious exercise that robs power away from the stronger elements at play.
As the central anchor to this piece, Mandi carries a powerful presence that can be felt in every frame. While the direct and obvious writing can often handicap her ability to find more nuances in her portrayal, there’s no denying the effective physicality she’s able to display. As the character descends into intense bouts of crippling anxiety, she captures a frenzied psychology that creates an enduring emotional connection. Amir is similarly hamstrung by the screenplay but is actually able to find some complexities on her own. Every small flash of detail in her face can communicate a conflicting viewpoint of submission, defiance, and terror. After impressing in such works as “Holy Spider” and “Shayda” this is another piece of evidence to show her extraordinary talents. Not many of the supporting players make much of an impression, outside of Ash Goldeh as Leila’s supportive husband. There’s not much for the character to do outside of making worrisome phone calls to reassure his frightened wife, but there’s an endearing nature to his caring presence that Goldeh is able to communicate well. It’s a role usually designated to women as the supportive but superfluous spouse, and he fills the role appropriately.
“Tatami” has the building blocks necessary to make a completely riveting experience. It has a provocative setup that can indulge in both enthralling sports drama and prescient political commentary, but the construction of this narrative leaves much to be desired. The storytelling doesn’t put value in finding shades of subtleties within this material, opting for blatant messaging that hits just as hard as any heavy fall to the floor this film presents. That often blunts the effectiveness of the showcased themes, which are only occasionally saved by the alluring filmmaking and beguiling performances. Overall, it’s a mildly stimulating exercise that leaves so much unfulfilled potential in its final results.
