Tehran has no more Pomegranates

Tehran Has No More Pomegranates is a 2007 Iranian mockumentary written, directed, and produced by Massoud Bakhshi. It pays homage to the city of Tehran, Iran's capital, by looking into its rich past and exploring its complex present through experimental modes of storytelling. This postmodern film deciphers Tehran's social history and cultural evolution from the 19th century to contemporary times, taking a satirical approach to express criticism and appreciation for the rapid transformations the city has undergone.

The film captures Tehran's growth 150 years ago from a small Persian town to a sprawling megacity of fifteen million people, using the symbolic portrayal of a pomegranate harvest that fails in the city's expansion process. Through a blend of archival materials, surreal anecdotes, and charming fictional narratives, Bakhshi paints a unique, colorful, and multifaceted picture of Tehran as a living, breathing entity with its own set of quirks and individualities.

Framed as an experimental documentary, Tehran Has No More Pomegranates is also a social critique that cleverly uses sardonic humor, playful editing, and original music to depict the challenges and consequences of modernization and the irreversible impacts of urbanization. The pomegranate, a fruit deeply embedded in Iranian culture, historic symbolism, and mythology, is utilized as a metaphorical device to represent the originality, simplicity, and genuineness lost in the march towards the overpowering urban sprawl.

The juxtaposition of past and present allows the film to explore complicated issues like population explosion, pollution, lack of proper urban planning, and societal transformations. These, in the director's eyes, have stripped away the city's core identity, causing it to lose its original 'flavor' symbolized by the pomegranate, yet at the same time hinting at the fruit’s residue that subtly lingers on.

Cinematic techniques used in the film are genuinely extraordinary, with the medium itself becoming a part of the message. Bakhshi adopts a wide array of styles, including montage sequences, quirky animations, grainy footage, interviews, and intricate narratives interspersed with comedy. The filmmaker also integrates a variety of sources for the film's visuals, such as photographs, historical film clips, propaganda posters, and present-day cityscapes. This innovative potpourri of visual leitmotifs gives the movie its unique aesthetic appeal.

The accompanying music, a vibrant mix of traditional Iranian melodies and more modern tunes, also contributes significantly to the film’s atmosphere and emotional resonance. The soundtrack by Iranian underground musician Mohsen Namjoo, known as Iran's Bob Dylan, ably matches the film's unconventional tone and helps to strike a balance between the levity and gravity of its contents.

While Tehran Has No More Pomegranates is indeed a visual love letter to Tehran, it does not follow conventional storytelling methods or linear plot developments. Instead, it presents a flurry of fast-paced, at times disorientating but always fascinating fragments – much like the city it portrays. This unorthodox approach invites the audience to join the director on a metaphorical journey, to consider the seemingly random intricacies of urban migration, societal change, and historical identity refashioned in the crucible of time.

At its heart, the film is also a comment on filmmaking itself and the issues surrounding cultural representation and preservation. Bakhshi pushes the boundaries of traditional Iranian cinema, embracing satire and parody to challenge the viewer's perception and encourage a wider understanding of the city's multifaceted identity. The film can be seen as a heirloom of sorts, preserving the impressions and memories of a city constantly reshaping and reinventing itself.

Massoud Bakhshi's Tehran Has No More Pomegranates is a daring and unconventional portrayal of a city in constant flux. It offers an intriguing opportunity for viewers to see Tehran through a different lens, where the clashing and merging of old and new create a surreal narrative landscape pulsating with frustration, humor, nostalgia, and hope. With its unique, playful style and insightful commentary, it is not just a film about Tehran, it is Tehran.