‘Third Land’ Director on the Risks of Chronicling the Lives of Iranian Refugees in Turkey: It Was ‘Extremely Tense and Frightening’

‘Third Land’ Director on the Risks of Chronicling the Lives of Iranian Refugees in Turkey: It Was ‘Extremely Tense and Frightening’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 27, 2026 6:00am PT ‘Third Land’ Director on the Risks of Chronicling the Lives of Iranian Refugees in Turkey: It Was ‘Extremely Tense and Frightening’ By Will Tizard Plus Icon Will Tizard Contributor @willtizard1 Latest Latvian Filmmaker Who Witnessed Last Days of the Soviet Union Portrayed in ‘Podnieks on Podnieks’ 12 months ago Albania’s Soviet-Tinged Propaganda Archives Reveal a Passion for the Cinematic, says Docmaker Roland Sejko 12 months ago ‘Time to the Target’ Director on How Bruegel Influenced His Portrait of Hometown Lviv Under Russian Fire 12 months ago See All Add us as a Google Preferred Source Comments In the unnerving docu “Third Land,” director and Iranian émigré Farzad Khoshdast chronicles the permanent limbo of a family living on the margins in Turkey. Screening at the Ji.hlava Documentary Film Festival this week, the film follows an Iranian engineer, his wife, Hananeh, and son as they deal with the daily contradictions of life as refugees in a third land – that is, one where their refugee status has been recognized by international aid organizations but their legal residence has not been.

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Ayrıca göz atabilirsiniz: İstanbul’da 3 saat arayla işlenen iki cinayetin ayrıntıları kan dondurdu detayları için tıklayın.

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I had become familiar with their lives and understood the repetitive cycle of their daily routines. I decided to bring together footage shot during those three periods as the film’s opening three episodes, creating the impression that everything was happening over just one or two days, as though three crews had been filming simultaneously.” He calls this approach to storytelling, and the way it brings different periods of time together, “one of the film’s important structural features.” Khoshdast and his wife were traveling in Turkey about four years ago, he says.

“That was when we met Hamid and his family. I told him about my own life and the harm I had suffered at the hands of the Islamic Revolutionary Guard Corps.

Hamid asked me, ‘If I tell you my story, will you write it down?’ I replied, ‘As it happens, I’m a documentary filmmaker, and I’d like to make a film about you.’ They later invited us into their home, and everything began to take the shape I had hoped for as a filmmaker.” Indeed, Hamid’s family shares the exhaustion, trauma and confusion they experience as they face maddening delays in getting work permits while forced to find employment under the table. Meanwhile, a sense of paranoia grows as police interest represents a constant threat.

“We filmed in three locations: Ankara, our main location; Alanya, where Hananeh worked; and an industrial town near Istanbul, where Hamid worked,” Khoshdast explains. “The circumstances were extremely tense and frightening.

We were detained two or three times. The most serious incident happened in Ankara, some time after a terrorist attack.

One night, following the filming of an elevator scene, officers came to Hamid’s home intending to detain me. Friends intervened that night and gave assurances that I would report to the police station the following day.” “On ano

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