Part of an older brother’s “job” is to give his younger siblings a hard time. Farzad Ostovarzadeh explores this common dynamic through an acute dramatic lens in his AFI film, Hidden.

Hidden is a heavy film—not exactly light internet viewing. And, I’m not just referencing the runtime. It’s a film about grief...about death. You know, typical “festival film” topics. But, it’s anchored by a strong sense of craft and a really impressive performance from its young protagonist.

After the film’s somewhat lengthy setup (its languid pace will be a turn off to some), 12-year-old Parham feels guilty for thinking he has played some superstitious role in his brother’s death. And, while the responsibility he develops for the tragedy is unfounded, it does perfectly capture the adolescent mindset—this idea that all actions can be of profound importance. As Parham comes to terms with his grief, he also is forced to confront the relationship he formed with his half-brother. When you’re a kid, the concept of death is often an intangible concept. You’re invincible—you’re going to live forever! So, when you’re forced to face it head on, it can be a devastating shock to system. Ostovarzadeh allows us to observe that shock in real time. We watch as Parham’s inner emotions bubble over into the external, creating a simple, but powerful climax. The scene in the doctor’s office is its strongest, as it ends on a emotional gut-punch that is subtle and not overwrought.

"I was trying to achieve the depth of a specific emotion called 'Guilt' and show the complexity that it can have."

Cinematically, Ostovarzadeh shows an accomplished directorial hand. The film’s use of Steadicam is impressive, allowing for long takes that float through the scenes. It’s patient, but never boring. And, he conveys much of the heavy dramatic lifting through character movements and actions, rather than dialogue. It’s truly a showcase for a burgeoning cinematic eye.

Up next, Ostovarzadeh is looking to get his first feature off the ground. He has been receiving guidance and notes on the script from Asghar Farhadi, perhaps the world’s most famous and critically celebrated Iranian filmmaker. We’re very excited to see what Ostovarzadeh is going to do next.