Kaveh Tehrani on challenging patriarchy, breaking stereotypes with Listen Up!

Based on Gulraiz Sharif’s eponymous best-selling novel, Listen Up! is the feature debut of Norwegian/Iranian director Kaveh Tehrani, multi-awarded for his short film The Manchador. Adapted for the screen by Erlend Loe and Nora Landsrød, the film is a warm and inclusive comedy drama about identity, fitting in, family values, set in a Norwegian-Pakistani family in Oslo.

What should have been a relaxing summer for the young Mahmoud (15) turns into a mayhem. Not only does he have to serve as a local guide for his Uncle Ji -freshly arrived from Pakistan- but his younger brother Ali confides in him a very personal secret, which eventually throws the household into chaos.

In the title roles are newcomers Mohammed Ahmed, Liza Haider as Mahmoud and Ali, Kristi Thepade and Manish Sharma as the mother Zoubaida and the father Maqsood, and Bafta-nominated actor Asim Chaudrhy (People Just do Nothing, Black Mirror: Bandersnatch) as Uncle Ji.
The film was produced by Motlys’ Ingvil Berger and Yngve Sæther, in association with Viaplay and Arthaus, with support from the Norwegian Film Institute, Oslo Filmfond and Nordisk Film & TV Fond. The release in Norwegian cinemas September 15 will be followed by an exclusive premiere on the streaming service Viaplay.

We spoke to Kaveh Tehrani on the eve of the film's world premiere in Haugesund.

What was the starting point for the film? Did Motlys approach you or you first read the book and tried to reach the rights holder to make a film?
Kaveh Tehrani: I had read the book and, then heard Motlys had acquired the rights from Cappelem Damm. Yngve [Sæther] is very approachable. So I just called him, saying I wanted to direct it. I also wrote a directors’ statement with my vision, references, what I felt was important to turn the book into a movie. We had conversations over several months, then Yngve and Ingvil officially took me on board. I also had a very good collaboration with my writers Erlend and Nora.

Why did you fall in love with the book? Was it the richness of the universal and relevant themes about identity, gender fluidity, family ties, all wrapped in a very humorous and colourful tone?
KT: Identity has been very much at the core of my short films. So, Mahmoud’s growing up, the issues of cultural clashes and gender identity felt very close and relevant to me as I have a brother who came out in his early 20s. The book hit me quite hard when I first read it. I was laughing a lot and eventually cried.
What I also love is that the characters surprise you. They challenge the patriarchy and old traditions in Pakistan; even the parents in the film have broken free from the strict caste barriers and choose to marry out of love.

From the outset, we’re blown away by the energy, irreverence of Mahmoud whose point of view about the Norwegian/Pakistani cultural clash makes it for a fresh and entertaining cinematic experience. That said, how did you make sure you would not fall into clichés, about being Norwegian or being Pakistani? Keep it true, yet original?
KT: Most of the stuff in the film is in the book. The most important for me was not to reproduce my own identity crisis and make the story relevant to teenagers today. The problems of third-generation Pakistani Norwegians are very different. I did quiz Mohammed Ahmed who plays Mahmoud about his character and he said he totally related to him.

Regarding stereotypes and clichés, a lot of humour in the film about what is being Norwegian or Pakistani is very broad. But the refreshing thing is that Mahmoud is very honest, wild, and his loyalty to his family, community is touching. Through the drama, you see the characters change. Uncle Ji and the mother in particular go through an interesting journey.

On screens, you often see Pakistani men portrayed as gangsters, drug dealers. But here, it’s a comedy and the characters are able to solve their problems. It’s a positive story, which does not reproduce stereotypes. I hope it does push the conversation forward.

Uncle Ji says he wants to stay in Norway where people can be whoever they want, and Mahmoud’s answer to this is…except being Muslim. That was quite controversial…
KT: Yes. Norway is a well-functioning society but we have our challenges and problems with islamophobia, intolerance and hate. The film is actually dedicated to the victims of the anti-gay Oslo terrorist attack on June 25^th, which happened just while we were filming.

What were your cinematic inspirations for the film?
KT: I watch a lot of movies. I re-read the script of Goodfellas, and watched it again, as well as The Wolf of Wall Street, Reprise, Amélie, Annie Hall, just to see some movies that break the fourth wall, like Listen Up!

Besides breaking the fourth wall, the visual style is very dynamic, with graphic design and a frantic pace, which slows down along the way. Could you expand on this?
KT: Well the book starts with a 20-page rant from the main character, which sets the universe and gets the people into Mahmoud’s mindset. We felt strongly that this was the way to open the film. But the pace does slow down as the story goes into a different direction, which makes it surprising and perhaps creates a bigger emotional impact.

How difficult was the casting process, especially to find the kids playing Mahmoud and Ali?
KT: For the casting I worked with Celine Engebrigtsen in Norway and Sam Jones in London.
We hoped to find a young transgender for the role of Ali, but didn’t. We then focused on trying to find a girl -as for Ali, it is what feels most true in terms of gender. We were fortunate to find Mohammed Ahmed for Mahmoud and Liza Haider for Ali. It was a combination of luck and hard work.

What would you like the audience to take away from watching the film?
KT: I’d like the people to be surprised, entertained. To me, it’s mostly a comedy with a lot of drama. It is entertaining, but my hope is that he drama adds complexity and depth.

What’s next for you?
KT: I’m working on the feature length version of my short film The Manchador. It’s still in the works.