JP: In my view, everyone in the world lives within a circle, either due to economic, political, cultural, or family problems or traditions. The radius of the circle can be smaller or larger. Regardless of their geographic location, they live within a circle. I hope that if this film has any kind of effect on anyone, it would be to make them try to expand the size of the radius.
DW: While the film treats women, what are the consequences for the men in their lives?
JP: Iranian society, particularly in comparison to this part of the world, is a man’s world pretty much. The radius might be marginally larger for men. The purpose of this film was not to be against men or to be a feminist film—it’s a film about humanity. Men and women are part of humanity. In the film I never showed any kind of maltreatment or anger from men. For example, we see the women afraid of the police. This may or may not be real. When the police are shown in long shot, they’re menacing. However, in medium shot, you can see the policeman has a kind face. And he asks the woman: ‘Do you need any help?’ And also in the scene when the woman was buying a shirt for her fiancé, the store owner measured it against the soldier’s chest. And at the end of the film, when they’re in the paddywagon … throughout the film, every single woman wanted to have a smoke. Once they’re in the paddywagon, there is this humanitarian atmosphere.
Joanne Laurier: Is your point that the army and the police are just made up of ordinary people?
JP: In all my films, you never see an evil character, male or female. I believe everyone is a good person. It could be the result of social difficulties. Even the most dangerous criminal has that sense of humanity. At the bottom he’s still a human. It doesn’t mean that a criminal shouldn’t be punished just because social difficulties have driven him to it. He’s guilty because he didn’t try to expand the radius of his circle.
An interview with Jafar Panahi, director of The Circle
