Mortician (Abdolreza Kahani, 2025): Canada

Reviewed by Ella Petrunia. Viewed at SBIFF.

Mortician, written and directed by Abdolreza Kahani, is a deeply emotional and authentic look into the reality of the life of a mortician, Mojtaba (played by Nima Sadr), working for the Iranian government, and his relationship with a famous Iranian singer, Jana (played by Gola). This film appeals to individuals interested in slow, emotionally raw storytelling, rather than the traditional Hollywood-style film. 

Jana, now hiding in a remote cabin in Canada after being exiled from Iran for publicly speaking out against the government, hires Mojtaba to essentially be her assistant in the remaining time she has to live. Jana has made the decision to commit suicide as an act of resistance, as she would rather end her own life than allow the Iranian government to kill her. She requests that Mojtaba wash and prepare her body after death, offering him $50,000 for his services, a sum of money that would completely change Mojtaba’s life. At first, the interactions between these two characters seem to be strictly transactional, but as the story progresses, their relationship evolves into something far more significant. The film opens with close-up shots of dead bodies being washed, with a somber score in the background, setting the tone of the film as dark and authentically raw. Mojtaba is portrayed as a quiet, reserved, serious man, while Jana is a passionate activist who slowly brings out the sensitive side of Mojtaba, teaching him about her work and experiences. Mortician explores themes of trust, resistance, identity, and death through the connection formed between a man whose life centers around loss and a woman who is willing to give her life in protest. 

Nima Sadr’s performance as Mojtaba is powerful, evoking emotion through stillness and simple displays of vulnerability. Gola’s portrayal of Jana balances heated determination and sentimentality, making her character more dynamic and deeply human. These two characters are such different people, but are able to find comfort in one another. The repeated use of the color white throughout the film in the snowy landscape and the bare walls of Jana’s house evoke feelings of isolation and emptiness, making the environments seem dull or almost clinical, illustrating the idea of death, specifically planned suicide, and highlighting the relationship between the two characters and their ultimate goals. The camera almost never moves during shots, making the film feel choppy in some ways, but also making the interactions between characters feel more emotional, as it focuses solely on the characters’ conversations and facial expressions. The use of silence is integral to the film, leaving space for reflection and visual depth rather than relying on consistent action and dialogue to progress the story. The film includes music performed by Jana’s character, giving insight into her life and her passion for speaking out.

Mortician’s slow pace and somber tone reminded me of Portrait of a Lady on Fire, directed by Celine Sciamma, a film that also feels quiet but profound, focusing on the connection formed between a painter and a woman forced into a marriage with a man she has never met. These two films both use gestures, silence, and setting, creating a dark and intimate mood. 

Mortician is a powerful and touching story, commenting on politically relevant topics while simultaneously focusing on the complicated but beautiful relationship between two unlikely friends, brought together through dark circumstances to bring a sense of joy and meaning into each other’s lives. I would highly recommend this film to those interested in an emotional slow burn story. Though this film is not a traditional Hollywood plot-driven story, it is far more impactful, leaving you feeling emotionally shaken.