A BAND OF DREAMERS AND A JUDGE
ORIGINAL TITLE: رویاباف و قاضی
IRAN / FRANCE / 2023, 80 MINS / DCP / 5.1
DIRECTOR: HESAM ESLAMI
PRODUCERS: ETIENNE DE RICAUD, HESAM ESLAMI

A Band of Dreamers and a Judge follows in the footsteps of Hesam Eslami's internationally acclaimed debut feature, 20th Circuit Suspects (2018). In this film, Eslami befriends a group of outlaws and embarks on their adventures in search of an ancient treasure. The filmmaker navigates various challenges to authentically capture a crime scene in progress, only to find himself defending against allegations of using filmmaking as a cover for criminal activity. This audacious film blurs the lines between legal and illegal, offering a unique, firsthand perspective on a trial in Iran that has rarely been depicted in Iranian cinema.

"The mountains of Savadkooh in northern Iran are haunted by stories of buried treasures. ..." IMDB
"Well aware that dreams are essential to cinema, he aims to capture a fantasy with his camera. ..." POV Magazine
"How do you make a world-premiering documentary on illegal activity?" Met Radio

A Band of Dreamers and a Judge (2023) has received funding from Catapult Fund and CNC. It was premiered at IDFA 2023 (Netherlands) and screened at Hot Docs 2024 (Canada), True/False 2024 (US), Jean Rouch 2024 (France), Docs Against Gravity 2024 (Poland) and Free Zone 2024 (Serbia).

Hesam Eslami is a Tehran-based director and producer of international TV and cinema documentaries. His feature documentaries focus on the margins of Iranian society. 20th Circuit Suspects (2018) depicted a gang of young delinquents, stuck in a cycle of petty theft and prison, surviving their adolescence on the streets of Tehran. The Marriage Project (2019) looks at the right to love within the confines of a Tehran psychiatric institution. A Band of Dreamers and a Judge is Eslami's third feature.

Director Statement: Over the past decade, Iran has faced multiple economic crises. Inflation has soared, wages have stagnated, and unemployment continues to rise. In these desperate times, as dreams wither above ground, some individuals have turned to pursuing their aspirations underground. They are lured by tales of treasures belonging to long-dead kings, buried just within reach, and the allure of windfall discoveries. Driven by the belief that these treasures represent their rightful inheritance and a lifeline from their ancestors, they are willing to risk everything for a chance to find ancient artifacts. Once sold on the black market, these artifacts could secure their families' lives and futures. Meanwhile, the authorities lack the capacity to excavate or preserve this buried wealth, openly admitting that "the best museum is underground." Lacking both the expertise and resources, they resort to strict prosecution of all excavation activities.
I spent three years getting close to my characters to capture their lives and dreams on camera. In the process, I discovered a universe of dualities: a realm of whimsical fantasies and harsh realities, where tragedy and comedy coexist, originals and counterfeits blur, and wins and losses intertwine. It is a world filled with great hope and profound despair, governed by both nature and law. During filming, law enforcement arrested me, accusing me of using the film as a cover for excavation. It was in defending my actions before a judge that I realized my story as a filmmaker is not so different from those of my subjects. This film serves as a defense of my identity as a filmmaker and a vindication of the characters within it. It shines a spotlight on the deeper layers of Iranian society, revealing complex individuals who refuse to be categorized solely as victims or heroes, embodying both roles in their struggles.