Reza Rasouli’s film NIGHT OF PASSAGE tells the story of three Iranian refugees escaping into Austria, and it won the Audience Award at this year’s Max Öphuls Prize as well as Best Short Film at the Trieste Film Festival.

We chatted to the filmmaker, who is currently studying at Filmakademie Wien about how he recovered from disappointment and depression to make the film, and how he values his film school experience.  

Hi Reza! 

Why did you choose the subject of NIGHT OF PASSAGE? What in your own experiences and life made you want to focus on telling the stories of refugees escaping to Austria?

Since moving to Austria in 2019, I have found that refugees and their experiences are among the most pressing issues in society. As a foreigner myself, this topic holds a deep personal significance for me. Even in my most recent film, which I made after NIGHT OF PASSAGE, I continued exploring the theme of displacement and migration.

However, to be completely honest, the inspiration for NIGHT OF PASSAGE came from a place of personal struggle. I had just completed a film that, unfortunately, did not turn out as I had hoped. I had attempted to make a film without conflict, but the result felt like a failure. At the same time, about two years ago, the Woman, Life, Freedom protests were unfolding in Iran. The weight of these events, combined with my own disappointment, led me into a deep depression.

It was during the lowest point of that period that I decided to make another film—perhaps as a way to heal myself. This time, I wanted to create something filled with conflict and fast-paced energy—the complete opposite of my previous work. Given the intense political climate in Iran, I chose to tell the story of three young Iranians, capturing their struggle and the urgency of their escape.

Is it based on a true story? Where did the story come from? 

The story is not based on a specific true event; I created almost all of it in my mind. However, over the past few years, I have heard many stories from different refugees, and their experiences have been incredibly inspiring. These real-life accounts played a significant role in shaping and developing the screenplay.

Could you tell us a bit about the techniques you use in the film to create a sense of realism, as well as conveying the urgency of the situation? 

Although the film revolves around the subject of asylum, from the very beginning, I made a conscious decision to distance myself from the political aspects as much as possible. My goal was to ensure that the film did not turn into a political manifesto or a statement, but rather focused on portraying a deeply human situation. I wanted to avoid passing judgment on the characters’ pasts, instead allowing the story to raise questions and invite the audience into a moral dilemma. This approach was essential in shaping the film’s tone and impact.

Visually, the film’s style plays a crucial role in enhancing its realism. Every artistic choice—from the cinematography to the way scenes unfold—was designed to immerse the audience in the raw and immediate nature of the story. In many ways, all of these elements serve a dramaturgical purpose.

Additionally, I worked closely with the actors, engaging in deep discussions to ensure we reached a shared understanding of each scene’s emotional and narrative weight. This collaboration helped bring authenticity to their performances and reinforced the film’s sense of urgency and realism.

What was it like working with the actors? How did you go about working with them on set? 

The filming process was extremely challenging for both the actors and me. I had anticipated the difficulties—both in terms of the demanding shoot and the need for multiple takes—so I tried to prepare as much as possible. Instead of traditional script readings and rehearsing dialogues, we focused on discussing the characters, their decisions, and the emotional weight of each situation. This approach helped the actors internalize their roles on a deeper level.

Before shooting, we also visited the filming locations together, allowing the actors to familiarize themselves with the environment and connect with the space. Despite these preparations, the shoot remained intense. For instance, in the scene under the bridge, we only had the chance to do three takes, and only one of them was usable. There was no option for reshoots, so I had to trust that single take to carry the scene’s impact.

What do you want people to take away from this film?

As I mentioned earlier, I aimed to make the story as universal as possible—one that any audience, regardless of nationality, could connect with on a human level. My hope is that viewers can see themselves in the characters, placing themselves in their situation and experiencing their dilemmas firsthand. If the film manages to evoke that kind of empathy, I consider it a success.

I believe this connection has been achieved to some extent, as evidenced by the film winning the Audience Award at the Max Ophüls Festival. That recognition reassured me that the story resonated with people and sparked meaningful engagement.

What have you gained from the film school experience?

Film school changed my life—it was like a complete reset. During my time there, I had the opportunity to experiment, make mistakes, and ultimately discover my own voice and style as a filmmaker. Through this process, I also deepened my understanding of dramaturgy, refining the way I approach storytelling and character development. It was a transformative experience that shaped me both creatively and personally.

Is there anything you have found missing from the film school experience as you move into the film industry? 

I believe it all depends on the individual. In my experience, I didn’t feel that anything was missing from film school. It provided me with the tools, space, and opportunities I needed—it was up to me to make the most of them.

How has the process of distributing the film been for you so far? What have you learned?

One of the biggest lessons I’ve learned is that film distribution is a highly specialized field. I was fortunate to collaborate with Lemonade Film, which has been instrumental in guiding the film’s journey. The festival selections and the awards we’ve received so far have made for an incredible start, and this experience has given me valuable insight into the complexities of getting a film out into the world.

What do you wish you’d known before you started making and distributing your short films? 

I wish I had known how crucial the distribution process is from the very beginning. When I first started, I was entirely focused on making the film, without fully understanding how important it is to plan for its life after completion. Festival strategies, networking, and finding the right distribution partners are just as essential as the filmmaking itself.

I’ve also learned that patience is key—getting a film seen takes time, and success doesn’t happen overnight. Understanding the business side of filmmaking earlier would have helped me navigate the process more effectively.

What are your plans for the future? What comes next? 

Right now, I’m preparing for the production of my new short film, which we plan to shoot in mid-spring. At the same time, I’m working on developing a story for a feature film.

Is there anything else you’d like to mention? 

I just want to say how inspiring it is that you support short films and emerging filmmakers. It means a lot to have platforms that recognize and celebrate this form of storytelling. Thank you for your support!

Submit Your Short To T-Port Today