Being a mortician seems to be a fusion of roles with partial therapist and spiritual duties combined to occur behind the scenes. Washing the deceased is a thankless task which is thrust into the spotlight in Mortician with a humane portrayal of Mojtaba, who works within a mortuary and fulfils the death related requests from Iranian community members living within his Canadian neighbourhood. Unwittingly, his solitary life is upended by an unusual request from a dissident singer which transforms a simple narrative in to a gripping tale fraught with suspicion and intrigue.
Mortician’s subtle surface layer serves to lull audiences in to a false sense of security whilst establishing the daily rituals established by Mojtaba with his calm demeanour akin to a priest. However, such external warmth extended by Mojtaba towards others inadvertently results in his services being exploited as a means of free therapy for some. Nima Sadr depicts Mojtaba’s understanding and compassionate nature convincingly in a calming performance that exudes that sense of spirituality similar to the confessional nature of a priest and other religious heads of church. The director, Abdolreza Kahani, interlaces layers of politics, throughout the film, which implicitly range from some characters’ express discussion of activities deemed to be expected of a good Muslim and others that may seem more secular in nature. As an observer such discussions provide a rich tapestry and insight in to the current challenges faced without being a blunt instrument.
In closely following Mojtaba’s interactions with his friends, Kahani also subtly reveals the extent to which Mojtbaba relies on being able to provide good service to others to secure a pay cheque as he is effectively paying it forward with more mouths to feed in differing lands. Again, Kahani presents a subtle subtext to audiences enabling them to resonate with Mojtaba, should they choose. This is a multi-faceted rich character portrait of Mojtaba, established by Kahani, as audiences witness the evolution of his personality and personal growth as he submits himself to natural changes within his life with new friendships flourishing.
Conversely, the film’s setting is Canada and therefore this is not the anticipated landscape of political warfare despite a plethora of cultural references embedded throughout. The pristine snow lit landscapes are a dazzling setting and yet the hints of turmoil continue to brim over the surface. Thus, Kahani does not spoon feed the audience but cleverly provides the relevant tools throughout the narrative enabling them to become fully immersed within potentially dangerous scenarios without guidance.
It is an effective approach as the focus rests on this mortician who remains understanding even when encountering threats to his livelihood, he is trusted by his friends and neighbours and the Sadr’s portrayal of Mojtaba makes us want to trust him too. We are privy to his meetings with friends over meals and food in itself is illustrated as a large thematic component and a cultural reference. However, it is best not to watch this film between meals with such an emphasis on delicious Middle Eastern cuisine!
The film also focuses on Mojtaba’s burgeoning friendship with this dissident singer, Jana portrayed by real life singer Gola. Their onscreen chemistry is mesmerising as Mojtaba becomes further embroiled within the domesticity of her life. Such moments are unveiled within heartwarming scenes as a natural friendship develops when the suspicions are thawed thereby allowing trust to emerge eventually. During these scenes, Kahani presents a microcosm protected against the outside world as an inner harmony is established in cosy environs where an equality is achieved and gendered tasks reversed.
At its core, despite the concept of death being at the forefront, Mortician presents a poetic, visually engaging film concerning the life of a kind hearted man. Kahani provides a compelling narrative of humanity which is why the stark reminders of the political reality are an even greater shock when they arrive. Skilfully, Kahani blends all of this in to the narrative without exaggerating bleak prospects by ensuring that we question all and everything and do not become too comfortable in the midst of constant threats around each corner. Mortician may be slow paced but it is engaging and will positively alert audiences to the compelling talents of both Sadr and Gola.
Rating – Four Stars
Mortician recently played at the Edinburgh International Film Festival.
Learn more about the film at the EIFF site for the title.
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