In the Name of Scheherazade or the First Beer Garden in Tehran is a fascinating and unconventional film that blurs the boundaries between fiction, documentary, and meta-cinema. Directed by Iranian-German filmmaker Narges Kalhor, the film premiered in 2019 and received critical attention for its bold narrative style and inventive commentary on identity, censorship, and storytelling. With its intricate structure and playful tone, the film explores the challenges faced by migrants, particularly Iranian exiles in Germany, while also questioning the very act of storytelling itself. Through a collage of visual experimentation and layered perspectives, Kalhor redefines the expectations of both documentary and narrative cinema, making In the Name of Scheherazade a compelling piece of modern filmmaking.
Background and Director
Narges Kalhor and Her Artistic Vision
Narges Kalhor, born in Tehran and later a refugee in Germany, has consistently explored themes of cultural identity, exile, and freedom of expression through her work. Her personal experiences often inform her creative projects, and In the Name of Scheherazade is no exception. The film is deeply autobiographical yet simultaneously universal, reflecting the stories of many who straddle multiple cultural realities and creative limitations.
Kalhor uses her position as both filmmaker and character in the film to question traditional narrative techniques. Her bold style challenges conventional cinematic forms, echoing the spirit of Scheherazade the legendary storyteller from One Thousand and One Nights who used stories as a means of survival.
Plot Structure and Narrative Style
Meta-Narrative and Story Layers
The film is not structured in a linear or traditional way. Instead, it functions as a meta-narrative, a film about making a film. It begins with a film student, clearly a stand-in for Kalhor, trying to produce a graduation project in Germany. She faces pressure to make her film conform to European expectations of what an Iranian story should be often tragic, political, and exotic. Frustrated by these constraints, she begins to experiment with form and tone, blending multiple stories into one chaotic, humorous, and thought-provoking narrative.
Throughout the film, viewers encounter:
- A love story between a refugee and a German woman
- Surreal reenactments of storytelling in the style of Scheherazade
- Behind-the-scenes footage showing the struggle of making the film
- Animated sequences and fantastical elements
This mixture of genres and layers creates a mosaic of voices and perspectives, reflecting the complexities of identity, exile, and the politics of representation.
Breaking the Fourth Wall
Kalhor often breaks the fourth wall, engaging directly with the audience. Characters speak to the camera, scenes are interrupted by crew discussions, and fictionalized elements blend with real-life interviews. This self-awareness gives the film a postmodern quality, inviting viewers to question the nature of truth and fiction in cinema.
Symbolism and the Figure of Scheherazade
A Storyteller’s Power
The film draws heavily on the legend of Scheherazade, the clever woman who avoided execution by telling a never-ending story. Scheherazade becomes a symbolic figure in Kalhor’s narrative a metaphor for the survival of the storyteller, especially within restrictive political or cultural frameworks.
By invoking Scheherazade, the film emphasizes the idea that stories can protect, liberate, and transform. At the same time, Kalhor critiques how Western audiences often demand that stories from the Middle East conform to certain tropes or expectations. Her use of Scheherazade is both a tribute and a subversion, offering stories that resist simple categorization.
Themes and Social Commentary
Migration and Identity
A major theme in In the Name of Scheherazade is the experience of migrants, particularly those who navigate life between cultures. Kalhor exposes the emotional and bureaucratic challenges that refugees face, including assimilation, misunderstanding, and stereotypes. These issues are explored both seriously and with satirical humor, allowing the film to be critical without becoming overly didactic.
Censorship and Cultural Expectations
Another key element is the exploration of censorship not just governmental, but also the subtler forms that exist within institutions like film schools and funding bodies. Kalhor critiques the white gaze that seeks to shape non-Western stories into digestible, exotic narratives. Her refusal to comply with these demands becomes an act of resistance, both artistically and politically.
Freedom of Expression in Art
Through its experimental format, the film itself becomes a statement about the necessity of creative freedom. Kalhor pushes against the boundaries of genre, format, and content, using her film to argue that authentic storytelling must be allowed to flourish on its own terms. Her work stands as a challenge to filmmakers and audiences to reconsider how stories are shaped, shared, and received.
Visual Style and Aesthetic
Color, Animation, and Set Design
The film uses a bold and varied visual style. Colorful sets, surreal lighting, and costume design give the film a dreamlike quality. At times, animation is used to illustrate parts of the story, adding a fantastical layer that mirrors the imaginative nature of Scheherazade’s tales.
Kalhor uses these visual choices to enhance the theme of storytelling as both playful and powerful. The aesthetics invite viewers into a world where reality and fiction coexist, reinforcing the idea that narrative is never neutral or fixed.
Documentary Meets Fantasy
The film frequently shifts between documentary footage and staged sequences, often blurring the line between the two. This technique allows Kalhor to deconstruct the notion of objectivity in documentary film, showing that even real stories are shaped by perspective, editing, and cultural context.
Reception and Critical Response
Film Festival Recognition
In the Name of Scheherazade premiered at several international film festivals, including Visions du Réel in Switzerland and DOK Leipzig. It was praised for its originality, humor, and courageous storytelling. Critics admired Kalhor’s ability to confront serious themes with irony and intelligence.
Although the film may challenge mainstream audiences with its non-linear structure and dense layering, it has become a favorite among cinephiles and scholars interested in experimental cinema and postcolonial narratives.
Impact on Independent Film
Kalhor’s film represents a growing movement in independent cinema that values intersectionality, self-reflection, and narrative experimentation. It encourages viewers and creators to move beyond traditional forms and to question who gets to tell stories and how those stories are shaped by the environments in which they are told.
In the Name of Scheherazade or the First Beer Garden in Tehran is a genre-defying film that challenges conventions and reimagines what cinema can be. Through humor, self-awareness, and cultural critique, Narges Kalhor presents a bold and deeply personal exploration of identity, migration, and the politics of storytelling. Her film invites audiences to look beyond familiar narratives and to consider the power of stories not just to entertain, but to question, provoke, and resist. In doing so, she honors the legacy of Scheherazade not just as a symbol of survival, but as a beacon for creative freedom.