Reviewed on February 18th at the 2024 Berlin International Film Festival – Competition. 97 Mins
Cast: Lili Farhadpour, Esmaeel Mehrabi, Mohammad Heidari
Genre: Comedy, Drama
Directors: Maryam Moghadam & Behtash Sanaeeha
In Irish Cinemas: 13th September 2024
Mahin (Lili Farhadpour) is a woman who lives with a quiet defiance against the passage of time. She sleeps late, wearing an eye mask to shield herself from the morning light, and enjoys gossiping with her son’s exuberant girlfriends while offering them canapés and tea. She has a taste for beautiful dresses, favouring those with delicate sheer underskirts that playfully peek out from beneath long robes, and she finds herself moved to tears by sentimental soap operas. On the surface, her habits could easily belong to a trendy young influencer crafting her life for an audience on TikTok. However, Mahin is far from being a part of the younger generation. She is a seventy-year-old Iranian widow whose husband passed away years ago. A bit soft around the waist, she navigates the bittersweet reality of ageing in a world increasingly forgetting her. Having settled abroad, her children have built their own lives, leaving her feeling distant and disconnected. In the society around her, Mahin finds herself becoming more and more invisible, tucked beneath her abaya and headscarf as she moves through her day, blending into the background of a life in which she once played a more central role.
One afternoon, amid conversations about Pouran’s latest imagined ailment and gossip about which of the women secretly wears diapers to bed, one of the more flirtatious members of Mahin’s longtime circle of friends—a group with whom she’s shared nearly half a century of history—steers the discussion toward men. She talks openly about new possibilities, exploring the excitement of paying attention to the opposite sex and rekindling a sense of discovery. Intrigued by the idea, Mahin decides to embark on her subtle adventures. She starts frequenting coffee shops, which feel more like sterile waiting rooms than lively social spaces in Tehran. She spends afternoons sitting in parks, observing the world around her. Eventually, she even gathers the courage to dine alone in a quiet restaurant for retirees, where she can discreetly use her senior citizen coupons, all while experimenting with the idea of stepping into unfamiliar territory.
In the restaurant’s corner, Mahin notices a solitary, elderly taxi driver enjoying his peaceful meal. His name is Faramarz (Esmaeel Mehrabi), a strikingly handsome man with a warm, kind expression, his face adorned with a thick, full moustache. Unaware that he has caught Mahin’s eye, Faramarz remains absorbed in his food, oblivious to her quiet attention. Intrigued, Mahin follows him as he leaves the restaurant and heads toward the taxi stand where he works, beginning a tender and unexpected friendship. Their connection deepens quickly, and soon, they find themselves at Mahin’s cosy home, where they spend the evening chatting, sipping homemade wine, and sharing stories of their lives. The night unfolds with gentle laughter, flirtation, and dancing, rediscovering pieces of themselves they thought were long forgotten. In these moments, they reconnect with their younger selves, who once lived in a different Iran—a more open, carefree country, as Mahin fondly recalls, “of low-cut blouses and high heels,” not conservative present-day Iran, marked by sneakers beneath hijabs and the ever-looming presence of the morality police.
In their film, directors Maryam Moghaddam and Behtash Sanaeeha subtly criticise the Iranian government, delivering pointed remarks and warnings that reveal the underlying political tension. These critical elements likely contributed to the Iranian authorities imposing a travel ban on the couple, preventing them from attending the competition to present their film. In addition, both directors are now facing trial. In response, the Berlinale issued an official statement titled “Call for Freedom of Movement, Freedom of Expression for Competition Directors Maryam Moghaddam and Behtash Sanaeeha,” urging the Iranian government to lift the travel ban. Unfortunately, the appeal has yet to yield any positive results.
While Moghaddam and Sanaeeha present valid and significant points in “My Favourite Cake”, and the film itself is a charming, visually stunning, and impeccably acted piece of cinema, the final act feels hurried, almost as though the conclusion wasn’t thoroughly thought through and was perhaps tacked on as an afterthought. It’s unfortunate, as “My Favourite Cake” flirts with perfection for its first three-quarters, offering a heartfelt exploration of love blossoming at 70. This concept is tender, beautifully romantic, and profoundly moving—enough to bring me to tears out of pure joy for the protagonists. The film masterfully captures the complexities and beauty of late-life love, and precisely, this emotional depth makes the rushed ending feel like a missed opportunity to deliver something truly extraordinary.
Overall: 8.5/10
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