Tatami begins its New York theatrical release on June 13, playing exclusively at the IFC Center.
By Elazar Abrahams
Sometimes, the timing of what you watch can shape the experience in unexpected ways. Halfway through Tatami, I received a news alert that Israel had launched a preemptive strike on Iran’s nuclear facilities. Against that backdrop, watching this tense, humanist drama unfold felt especially powerful.
Tatami is the latest feature from director Guy Nattiv, whose short film Skin won an Oscar a few years back. Now, with Tatami, Nattiv, along with Iranian co-director Zar Amir Ebrahimi, who also plays a large role in the film, tells another deeply political story rooted in personal courage.
The film follows Leila Hosseini (Arienne Mandi), a member of Iran’s national women’s judo team, as she competes in the World Judo Championships. Shot in crisp black and white, Tatami chronicles Leila’s rise through her side of the tournament bracket. But as she advances toward the finals, the Iranian government starts paying very close attention, because her likely opponent for the gold medal is an Israeli athlete. The regime demands that she withdraw rather than face an Israeli on the world stage. Leila, having trained her entire life for this moment, refuses.
What follows is a steadily escalating game of psychological and political pressure. Leila’s family is threatened, her freedom is at risk, and her moral resolve is tested. Through flashbacks, we see her conflicted relationship with her homeland, which was once a place where women could thrive, and is now an oppressive theocracy. The message is clear: people are not their governments, and on an individual level, coexistence is not only possible, but deeply necessary. Watching this in today’s climate makes that message resonate even louder.
The filmmaking here is excellent. The choice to present the film in black and white strips away any visual distractions, letting the story’s raw emotions stand front and center. Nattiv and Ebrahimi use long tracking shots to great effect, particularly as Leila navigates the tournament’s hallways and locker rooms, giving a visceral sense of her isolation and determination. The judo matches themselves are staged beautifully. Even for a viewer unfamiliar with the sport, the choreography is dynamic and immersive.
Arienne Mandi delivers a terrific lead performance, imbuing Leila with steely resolve and vulnerability in equal measure. Equally strong is Ebrahimi, pulling double duty as co-director and as the team’s coach. Her character is fascinating, a woman empowered by the regime to control others, but with her own layers of conflict and fear. At times, she evokes the same unsettling dynamic as Aunt Lydia from The Handmaid’s Tale, a woman navigating power over other less fortunate women in a system that is still fundamentally rigged against her just the same.
Ultimately, Tatami is a gripping, human story that could not feel more timely. In a world of nationalistic posturing and government-driven enmity, the film reminds us that individual dignity and connection still matter. And yes, in this particular narrative, it is the Iranian regime that comes off far more culpable. But the broader point remains: athletes, and people everywhere, should not be pawns in geopolitical games.
Tatami is not a perfect film, and it moves slowly at times, but its visual style, strong performances, and timely message make it a standout. It is a movie well worth watching, especially in this current moment.
I give Tatami a B+.
TV and City 