A Conversation with Niki Karimi: Exploring Cinema, Culture, and Storytelling

Cinema has always been more than just entertainment. At its best, cinema serves as a powerful medium for telling human stories, illuminating the tensions, hopes, and contradictions that define societies. Few artists embody the connection between film and social reflection as clearly as Niki Karimi, one of the most internationally recognised figures in Iranian cinema.

Karimi’s journey into cinema began unexpectedly during her teenage years when she was discovered by a well-known Iranian actor during a school performance. This marked the beginning of an extraordinary journey that would place her at the forefront of modern Iranian cinema. Her international breakthrough came with her performance in “Sara” (1992), directed by the renowned filmmaker Dariush Mehrjui. This film brought her global recognition and earned her the Silver Shell for Best Actress at the San Sebastián International Film Festival, establishing her as one of the most compelling actors of her generation.

Over the following decades, Karimi created an outstanding collection of work through performances that examined social life, identity, and human relationships. She appeared in many important Iranian films and earned respect for her work. People admired her ability to add emotional depth and detail to stories that reflect everyday experiences.

Her creative ambitions, however, extended beyond the screen. In the early 2000s, Karimi started directing films and developed her voice as a filmmaker. Her debut feature film, “One Night” (2005), premiered in the Un Certain Regard section at the Cannes Film Festival, marking a significant moment in her career. Since then, she has directed several successful films and has become a prominent figure in both Iranian and international cinema. She is well recognised worldwide and has served on juries for prestigious film festivals, including Cannes, Berlin, and Tribeca.

Currently, Karimi is part of the academic community at the University of Westminster, where she is pursuing a Master’s degree in Diplomacy and Global Politics.

Her presence in the programme reflects the growing intersection between culture, storytelling, and international affairs, reminding us that cinema can function not only as art but also as a form of cultural dialogue in an increasingly interconnected world.

In this conversation, students from the Democratic Education Network (DEN) engage with Niki Karimi to discuss her journey in cinema, the unique voice of Iranian filmmaking, and how storytelling can help people understand societies beyond their own. The discussion emphasises the importance of creativity in international academic environments and explores the opportunities and challenges that the next generation of filmmakers will face in a rapidly changing digital landscape.

Personal Journey

1. To begin, we would like to learn about your personal path into cinema. Your career in film began at a very young age. Could you tell us how you first became interested in acting and filmmaking?

My interest in acting actually started quite early, during school. I was very involved in school theatre and really enjoyed performing on stage. It quickly became something I felt very passionate about. Later on, through a family friend, I was introduced to a well-known film director. That opportunity opened the door for me to enter the professional world of cinema. In that sense, I was quite lucky, but at the same time, it happened in a field that I genuinely loved and had already been deeply interested in.

2. What was your childhood like growing up in Iran, and how did your early environment shape your interest in storytelling and the arts?

I grew up at a very particular moment in Iran’s history. My first year of school coincided with the Iranian Revolution. At the same time, my family environment was quite different from what was happening in the wider society. Before I was seven, we had travelled across much of Europe, and at home my father would listen to music like the Bee Gees and the Beatles. So when I began to become aware of the world around me, I was experiencing two very different realities at once — what was happening in Iranian society after the revolution, and the more open, cultural atmosphere inside our home. That contrast shaped my early understanding of the world and probably influenced my artistic sensibility later.

3. What role did cinema, literature, or storytelling play in your daily life?

Literature and cinema have always played an important role in my life. I’ve always been an enthusiastic reader, and books were a big part of how I understood the world growing up. These days, literature, cinema, and the arts in general remain at the centre of my life and creative thinking.

4. Were there particular filmmakers, actors, or artistic traditions that influenced your early work?

Many people have influenced me over the years. I’ve always had the habit of exploring an artist’s work in depth — whether it’s an actor or a director — and watching or reading as much as I could about them. Among the classic figures, Alfred Hitchcock had a strong impact on me as a filmmaker, and Marlon Brando was also very influential. I remember even reading his memoir when it was translated into Persian.

5. What motivated you to continue your studies at the University of Westminster?

When I came to the UK and had the opportunity to study, I decided not to focus on something I had already spent many years practising, like cinema and the arts. Instead, I chose to study something that had always interested me: politics and diplomacy. I’ve always been curious about how societies and international relations work. I also did some research and saw that the University of Westminster has interesting work and research in this field, which made the decision even more appealing for me.

Iranian Cinema and Cultural Expression

6. Iranian cinema is widely respected worldwide for its artistic depth and storytelling. How would you describe the distinctive qualities of Iranian cinema?

For several reasons, Iranian cinema developed in a very particular way. Because entertainment options were often limited and censorship was strict, filmmakers and writers had to think more carefully about how to express their ideas. As a result, Iranian cinema gradually became more reflective and poetic, focusing on deeper themes rather than just entertainment.

7. What social themes or human experiences do Iranian filmmakers often explore in their work?

Iranian cinema has several different strands. There is social cinema, which focuses on real social issues; quieter, more contemplative films that often appear at international festivals; and family-oriented films that explore everyday life. I think all of these deserve deeper study. Social cinema in particular is often inspired directly by real events. For example, my film Final Whistle came from a documentary I once saw about a woman facing execution. At the time, there were many discussions in Iran about women’s rights and complex legal issues surrounding testimony and justice. So many social films in Iran grow directly out of real experiences and societal tensions.

8. In your view, how does cinema help audiences understand everyday life and social realities in Iran?

For many years, Iranian filmmakers have worked under quite strict censorship. I often imagine what it would be like if artists could freely write the books they want, write the poems they wish, and make the films they truly want to create. I think in that kind of environment we would see many more stories and a much richer reflection of society’s realities, because there are already so many powerful stories waiting to be told.

9. What challenges do filmmakers face when balancing artistic expression with social or political constraints?

One of the biggest challenges over the years has been the process of getting permission to make a film. In Iran, filmmaking involves several complicated steps. First, the script has to be submitted and approved, and there are many subjects that filmmakers are not allowed to address. After the film is made, it must be reviewed again to obtain a screening permit. Even then, circumstances can change — sometimes a single objection can lead to a film being withdrawn from festivals like the Fajr Film Festival. So, filmmaking in Iran often involves navigating a lengthy and complex approval process.

Cinema, Society, and Responsibility

10. Film can often shape how people understand the world around them. Do you believe filmmakers have a social or ethical responsibility toward their audiences?

I think a filmmaker doesn’t necessarily have a specific obligation to the audience in the sense that they must create something to please them. A filmmaker should be free to make the work they truly believe in. However, the question of whether filmmakers have a social or ethical responsibility is more complex. Cinema is a powerful medium, and films can influence how people think about society, culture, or human relationships. So while artistic freedom is essential, filmmakers are often aware that their work can have broader social or ethical implications.

11. Can cinema help people see political or social issues from a new perspective?

I believe cinema can play an important role in helping audiences engage with social realities and see them from a new perspective. It can open a window onto experiences that people might not otherwise encounter. This is especially meaningful for international audiences, who may not be familiar with the complexities of another society. In that sense, cinema — like literature — can do more than entertain; it can create awareness and encourage deeper understanding.

12. Have you ever worked on a film that changed your own understanding of society or human relationships?

Acting is fascinating because it requires a deep understanding of psychology. When you analyse a script and try to understand a character, you are also engaging in a kind of self-exploration. It pushes you to reflect on a range of emotions, motivations, and human behaviours. In that sense, acting helps you discover different layers of yourself while also deepening your understanding of society and the people around you.

Studying and Creating in an International Environment

13. As a student in London, you are now part of an international academic community. How has your experience of studying and working in London differed from your experiences in Iran?

Studying and living in London has been a very interesting experience for me. I haven’t had the chance to work here yet, but being here as a student has been quite refreshing. One thing I’ve really enjoyed is that many people don’t recognise me here, and in a way that has given me a sense of freedom. Of course, I’ve always appreciated the connection with my audience back home, but being in a place where I can simply be myself — share my opinions freely and move around without the pressure of being constantly recognised — has been quite liberating.

14. How does being in an international university environment influence your creative thinking?

People often say that in creative work you shouldn’t rush to constantly make films or write books. You need time to live, observe, and gather experiences — to “fill the hard drive,” so to speak. Only then can you really understand what you want to express. I think this period of studying and living here will definitely influence whatever I create in the future. Meeting students from different countries and experiencing student life in this international environment has been a very valuable and inspiring experience.

15. What have you learned from collaborating with people from different cultural backgrounds?

One of the most interesting parts of studying here has been the international environment. Being surrounded by students from many different countries and backgrounds creates a space where students can exchange ideas, learn from one another, and see the world through different perspectives. For me, that kind of open and diverse academic atmosphere is one of the most valuable aspects of student life.

Cinema in the Digital Era

16. The film industry is rapidly changing due to new technologies. How have digital technologies changed filmmaking and storytelling?

Digital technology has had a huge impact on filmmaking. In the past we worked with 35mm film, and everything—from shooting to screening—was more complicated. If you wanted to show a film at a festival, you had to physically transport large film reels. Today, with digital cameras and distribution, a film can be sent anywhere in the world with just a click. At the same time, the limitations of 35mm created a certain discipline in filmmaking. Film stock was expensive, and there was always a clear limit to how much you could shoot, which meant every shot had to be carefully planned. With digital technology, filmmaking has become much more accessible and flexible. I think overall it has brought many positive changes, but it’s also interesting to reflect on how this shift has influenced the creative process in cinema and other arts.

17. Do you think streaming platforms and social media have transformed how audiences engage with cinema?

I don’t necessarily think social media has fundamentally changed audiences themselves, but I do feel that something of the depth of engagement with art may be fading. In the past, people often had a stronger connection to literature, and that background helped them appreciate films or theatre on a deeper level. Today it seems that reading has become less common, and I sometimes wonder whether that affects how we experience storytelling. Platforms and fast digital content can be very convenient, but I’m not sure they always encourage the kind of reflection and imagination that reading literature—and especially books—can inspire.

18. What new opportunities do these changes create for young filmmakers?

That’s an interesting point. Social media platforms have definitely made it easier for young filmmakers to create and share their work. The tools are more accessible, and films can reach audiences much more quickly. But whether these works gain real significance, and whether they help someone develop into a serious filmmaker, is another question. At the same time, I don’t want to resist these changes simply because I come from a different era. I’m actually curious and open to seeing what kinds of strong and meaningful films might emerge from these new platforms.

Advice for Students and Emerging Artists

19. Many students are interested in creative careers. What advice would you give students who want to pursue careers in film or the creative industries?

That’s a difficult question, but if I had to give one piece of advice, it would be not to be afraid to start. Whether you want to make films, work in the creative arts, write a script, or submit your writing to a publisher, the most important step is simply to try. Don’t be afraid to experiment or put your ideas out into the world. Everyone has something meaningful to say, and the only way to discover your voice is to begin.

20. What qualities or skills are most important for young filmmakers today?

Beyond learning the technical side of any medium—whether it’s cinema, literature, or another art form—it’s very important to understand its history. Watching films, reading books, and exploring the traditions behind them with curiosity and attention really matters. For example, knowing writers from different countries or understanding major traditions in world literature, such as Russian literature, can deepen your perspective. The same is true with classic films. Without that kind of exploration, it’s harder to develop the experience and understanding that shape meaningful creative work. For any student interested in the arts, that kind of curiosity and research is essential. I would also add that experience is very important. Sometimes it may not be easy to enter the professional world of cinema right away, but any kind of experience related to the field can be valuable. Working on small projects, observing, collaborating with others, or simply practising your craft all help you grow and understand the medium better. Every experience contributes to building your path.

21. How important are collaboration and teamwork in the filmmaking process?

That’s a very important question. Cinema and theatre are deeply collaborative arts, so teamwork plays a central role. Whether you are a filmmaker, an actor, or part of the crew, you are constantly working with others to bring a story to life. That kind of collaboration can have a strong impact on a person. It begins within a small creative community, but the experience of working together, sharing ideas, and trusting one another can shape how people understand cooperation and human connection in the wider world.

Culture, Identity, and Global Dialogue

22. Cinema often connects cultures and communities. How does your cultural background influence your artistic voice?

I was born and grew up in Iran during the revolution, but I’ve always felt, in a way, like a global citizen. I was fortunate to travel quite a bit from a young age, which helped me develop a more open perspective. At the same time, living in a particular country inevitably shapes how you see the world and the kinds of stories that resonate with you. What I’ve also noticed over the years is that artists from very different places can sometimes think in surprisingly similar ways. There have been moments at film festivals when I watched another filmmaker’s work and felt a strong connection—almost as if we were exploring similar ideas from different parts of the world. In that sense, the world of art often creates unexpected connections between people and between creative minds.

23. What role can cinema play in helping people understand different cultures and societies?

One of the important things cinema can do is help people discover and understand different cultures. Of course, there are many discussions about Westernisation and the influence of American films, but beyond those debates, cinema and literature both create ways for people to explore the world. Personally, when I become curious about a country or a place, I often try to learn about it through books or films. Watching a film or reading a novel from another culture can open a window into how people live, think, and experience life there. In that sense, both cinema and literature can help societies develop a better understanding of different cultures and perspectives.

24. In a world that sometimes feels divided, can storytelling help build empathy and dialogue?

Yes, I think storytelling and cinema can play an important role in creating empathy. In a world that sometimes feels more divided every day, stories can remind us of our shared human experiences. Through films or literature, we can see life from another person’s perspective, understand different cultures, and connect with universal emotions. In that sense, storytelling has the power not only to entertain but also to bring people a little closer together.

Looking Ahead

25, Finally, we would like to ask about your future creative work. What kinds of stories or themes are you most interested in exploring in your future projects?

That’s actually a difficult question to answer. At different periods of my career, I’ve made very different kinds of films. At times I focused on social themes, at other times on family stories, and more recently I’ve been drawn to more poetic and introspective films. I think it really depends on the moment and on the subject that comes to you. When a story appears, you instinctively feel what kind of tone or approach it needs. It’s not always something you can plan— it often grows naturally from the idea itself.

26. If you could tell one story about Iran to a global audience, what would it be and why?

Right now, I feel that many people have stories they want to tell. There are so many different perspectives and personal experiences in people’s minds, especially when it comes to recent events in Iran. Everyone seems to carry their own stories and reflections about what they have witnessed. I’m sure many of these voices and ideas will eventually find their way into films, books, and other forms of storytelling.

Closing Question

27. Most of our students come from diverse areas and communities in London. They are children of immigrants who moved to the city in search of better opportunities for their families. If you were to create a film project with students at the University of Westminster, what kind of story would you encourage them to tell?

I always encourage people to tell their own personal stories. One idea could be to invite students to share their experiences and memories—almost like an open call for personal stories. When you talk to people, you often discover that everyone carries interesting and meaningful moments in their lives. Those experiences can easily become the starting point for a film. I would encourage them to write about themselves, their families, or their communities, and then develop a story from there. This can also include the difficulties and bittersweet moments many of us experience when living in large cities. Very often, the most powerful narratives come from something deeply personal.