Berlinale award-winner ‘The Last Swim’ director Sasha Nathwani: ‘I’m grateful for both my Indian and Iranian heritage’

London-based Iranian-Indian director Sasha Nathwani is on a high after bagging the Crystal Bear for the Best Film at Berlinale for ‘The Last Swim' earlier this year in February. Incidentally, it was Nathwani's debut feature film that was also showcased in India in Mumbai at the inaugural Red Lorry Film Festival earlier this month.

Nathwani, whose films are deeply rooted in culture and identity, has previously made ‘Raj's Story' (2021), ‘Play The Game' (2017), ‘Three Days in London' (2011) and ‘Lost on the Map' (2008) -- all short films. As ‘Raj's Story' focuses on one of the Royal Navy's first Sikh mariners, thus tapping into his Indian side, Nathwani forays into feature films with ‘The Last Swim', as it deeply delves into his Iranian roots. Born in London to an Indian father and Iranian mother, it gives a glimpse of his life as an Iranian in London.

The 2024 film is deeply engaging as it takes you on the journey of an immigrant's teenage life in London. Centred around Ziba, who is the main character, it grapples with how she fully tries to embrace her Iranian identity as she goes about with her academics, friendship and being a nerd for the stars. At the same time, it dwells on her dealing with the trials and tribulations of possessing an undefined life-threatening disease that has the potential of throwing the straight A student a curveball as she looks to pursue astrophysics.

On the brink of trying to decide her fate, he lives her results day like her last day, as she does all the things she loves including eating a falafel with her close friends, while watching a meteor shower that appears once in 40 years the same night â€" the film gives a peek into 24-hours of a teenager's life during summer. While dealing with her own challenges, the group gets an unexpected addition and a subsequent event that makes her rethink everything.

In a chat with mid-day.com, Nathwani talks about showcasing his film in India and its cultural theme. He also talks about representing Iranian culture in London and in English films with its food and music. Lastly, he also dwells on his India roots and reveals how he is exploring his Indian roots with his next project.

Here are edited excerpts:

Firstly, how does it feel to showcase 'The Last Swim' at Red Lorry Film Festival? Did showcasing it here help you to connect or pay tribute to your Indian roots?
It has been a delight for ‘The Last Swim' to have screened at Red Lorry Film Festival amongst so many other fantastic films. I'm looking forward to attending with a future film that centres more closely with my Indian identity which will be a lovely full circle moment.

What inspired you to create the film, and give it that name? It also happens to be your debut feature film, for which you won the Crystal Bear for the Best Film at Berlinale. How do you feel?

The last few weeks have been really special. To have opened the Generation strand at the Berlinale was a huge honour and the perfect place to globally launch the film, and then to have had such an amazing week, seeing the film so well-attended across the festival and finally the Bear, we couldn't have hoped for a better opening, and have been pinching ourselves since.

The film is centred around Ziba, a British-Iranian teen whose Iranian roots come out in many ways including her mother, family celebration and music. Being of Iranian Indian origin in the UK, what made you tap heavily into the Iranian roots, apart from the English side?
Ziba, like so many Londoners, shares many different identities. She's proud of her Persian heritage, but she's also a London gal, as well as being a promising young academic. That is one of the things that I wanted to explore with the character: this idea that a Londoner can wear many different hats, some of them simultaneously.

My main motivation was simply to tell a story that reflected my own experience of growing up in London, and to tap into the energy of a hot summer's day in the capital. Growing up, I never saw any semblance of my own experiences documented on the screen.

It is true that this film centres more closely on my Iranian identity, this is partly because the character of Ziba is loosely inspired by a few of my cousins on the Iranian side of my family. However, it's important to point out that the film is very much a British coming-of-age story. And it just so happens that the make-up of the group is one that reflects the diversity of London, with Ziba being Persian.

One of my forthcoming projects is an exploration of my Indian heritage, and this is one I'm very excited about.

Do you feel there needs to be more representation of Iranian culture in English cinema when the story demands it? At large, do you believe English films need to showcase better representation of other cultures?
I am seeing many more films from underrepresented voices in British cinema than in years gone by. We are in a bit of a golden period when you reflect on the successes of ‘Aftersun', ‘Rye Lane' and ‘How To Have Sex'. In terms of Iranian culture specifically, there has been some great films from the diaspora recently: ‘The Persian Version', ‘Shayda', ‘My Favourite Cake' and ‘Holy Spider' are all great examples of the varied talent amongst Iranian filmmakers, both in Iran and internationally.

What was it like growing up as an Iranian-Indian origin teen in London? How have you brought that experience into the film?
It is only in my adult life that I've been able to really appreciate my dual identity. My childhood home was always filled to the brim with family, friends, incredible food and music, and a general jovial atmosphere that I really miss.

In ‘The Last Swim', there is a short scene featuring Mona (Ziba's mother) and her friends playing rummy and sipping tea from small glasses. That scene is emblematic of all Iranian homes. I would often come home from school to that exact scene, I would have my cheeks pulled by each family member and then suddenly someone would crank up the volume and try and get me dance along with them. It is both silly and convivial, and served as the inspiration for those scenes.

Even as Ziba is happy about her results, she is bogged down by her sickness, which threatens her future. There are even flashes of her considering jumping off the bridge into the water. Today, there are increasing cases of Gen-Z often overwhelmed by life leading them to take drastic decisions. Does the film intend to delve into sadness and mental health?
The film dances between moments of joy and sadness, euphoria and melancholy. These contrasting emotions are representation of people of a certain age, and this is particularly true for Gen-Z who exhibit perhaps a greater sensitivity than the generations that came before.

It is true that Ziba is afflicted with certain dark thoughts and impulses. However, her journey in the film is one that emphasises her clinging onto hope and a brighter future, and that can be interpreted in many different ways.

Throughout the film it is as if she is living her last day with her friends, as she enjoys falafel, does everything that she would and wouldn't do before, including things she loves like watching the meteor shower, before doing her final pre-planned act. However, Malcolm's sudden accident changes her perspective about life. What role do you believe friends play in one's life, especially for the diaspora living in another land?
Well, Malcolm's story is one that demonstrates to Ziba that she's not the only person having to overcome setbacks with serious repercussions. As he joins the characters on this pre-planned day, his presence initially serves as an inconvenience for Ziba. Later, she realises, in witnessing his own reaction to life changing circumstances, that there is another way. Malcolm's appearance is very much a beacon of light for Ziba, and it was important that he, as the story's unconventional antagonist, served the story in this way.

The film has electronic Iranian music that also explores works by Kourush Yaghmaei, regarded as the Godfather of Iranian psychedelic rock. What made you choose past Iranian songs for the film over present day tunes?
I wanted to use music that my Mum and my aunts would listen to. Whenever a Kourosh Yaghmaei track comes on, they all stop what they are doing and sing along, swaying from side to side, and clink their glasses. His songs represent a pre-revolutionary freedom for all Iranians, but particularly Iranian women. His music has a familiar place in Persian homes, we needed that familiarity in the soundtrack as much of the other music which is more contemporary and belonging to London's culture of dance and electronic music.

You have tapped into your Iranian roots with this film, and Indian roots in the past with ‘Raj's Story'. Firstly, how connected are you to your Iranian roots and Iranian films?
I am really proud, and grateful for both my Indian and Iranian heritage. I have come to appreciate this more with age. That kind of exposure to language, culture, food and family have given me a really unique perspective in terms of my approach to visual storytelling and character and world building.

Having said that, I also have to acknowledge that I am not just one thing, and that contributed in my younger years to a feeling of never quite fitting in. Over time, I have come to appreciate my mixed identity. It is a gift, and I want to continue exploring it in my work, with the hope of one day shooting in both the countries that my parents come from.

How connected are you to your Indian roots and Indian films? Do you have any inspirations or favourite films and do you delve into them to get perspective?
My Dad is always trying to get me to watch Bollywood films with him. He loves a Bollywood musical. I'm more of a lover of dramas -- so the classics such as ‘Lagaan', ‘Monsoon Wedding', and I am also excited to see Payal Kapadia's 'All We Imagine As Light' which is competing in Cannes this year.