“From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao.

“From Shiraz to Seoul : An Iranian teenager’s journey through K-Pop in Ebrahim Amini’s K-Poper” © by film critic Lalit Rao (FIPRESCI) [lalitmax2022@gmail.com]

 

 

In an era where cultural borders are increasingly porous and global pop culture travels effortlessly from one corner of the world to another, K-Poper, the début directorial venture of Iranian filmmaker Ebrahim Amini, arrives as a poignant and timely story. Set against the backdrop of contemporary Iran, the film explores intergenerational desires, conflicts, and aspirations through the dreams of a teenage girl named Maedeh from Shiraz. Amini, who began his career writing screenplays for acclaimed Iranian films such as Trace of Blood, The Story of High Noon, Lottery, and Walnut Tree, brings to his first feature a surprising blend of sensitivity and universality. K-Poper may be rooted in Iran, yet its emotional resonance stretches across borders, mirroring the ways in which young audiences everywhere engage with music, celebrity culture, and their own evolving identities.

 

 

At its heart, K-Poper is the story of Maedeh, a young girl deeply enamored with a famous South Korean K-Pop singer. Her fascination is not merely a phase but a doorway into imagining a life very different from the one she currently inhabits. Her dream is twofold: she wants to travel to Seoul to watch her idol perform live, and she also hopes to participate in a singing competition that would allow her to express her own burgeoning musical talent. These aspirations, while personal and deeply heartfelt, also become symbolic of her desire to carve out space for self-expression in a society where freedom—creative or otherwise—is often tightly regulated.

 

 

Amini depicts Maedeh with tenderness, refusing to reduce her character to a stereotype of naïve infatuation. Instead, she is portrayed as a girl standing at the threshold of adulthood, navigating conflicting emotions, societal restrictions, and familial expectations. Her enthusiasm for K-Pop mirrors a growing trend across Asia—one that the film smartly acknowledges. From India to Thailand, from Singapore to Vietnam, from Japan to Iran itself, the K-Pop phenomenon has taken firm root. The film uses Maedeh’s obsession not as a passing craze but as a legitimate cultural bridge that links distant worlds.

 

Interestingly, Maedeh’s strongest supporter turns out to be her grandfather, a man whose own youthful passions were shaped by American icons like James Dean and Elvis Presley. His fondness for these Western cultural figures reflects a universal truth that the film poignantly captures: every generation finds itself enchanted by a distant star, a voice or image that embodies rebellion, style, or freedom. In supporting Maedeh, the grandfather is not merely indulging her youthful fantasy. He is, in a way, honoring his own past—when he once felt the same pull toward global pop culture that she feels today.

 

Through this relationship, Amini creates a beautiful intergenerational parallel. Just as the grandfather’s Iran of the past was filled with young men who idolized James Dean and Elvis Presley, Maedeh’s Iran too has its own youth drawn to the glitz, beats, and creative energy of K-Pop. The film includes scenes of Iranian young men riding motorcycles, dressed in a manner reminiscent of mid-20th century American rebels. This juxtaposition underscores the idea that youth culture is cyclical: the icons may change, but the longing for identity, excitement, and self-expression transcends time.

 

The tension in the narrative arises from Maedeh’s mother, who fiercely opposes her daughter’s dreams. Her resistance is not portrayed as villainous, but rather as a combination of fear, skepticism, and traditional expectations. To her, K-Pop represents a foreign influence—something frivolous, unnecessary, and potentially dangerous. Her daughter’s desire to travel abroad, that too alone, is seen as rebellious and unacceptable. In many ways, this conflict becomes the emotional and thematic core of the film. It reflects a familiar pattern in many cultures: the generation shaped by duty and societal pressure clashing with the generation shaped by global media, personal passions, and digital connectivity.

 

Director Amini handles this conflict with nuance. The mother is not demonized; instead, we understand her fears and the cultural constraints that frame her reactions. But we also understand Maedeh’s frustration and her yearning for a world that feels larger, brighter, and more welcoming. The clash of these two perspectives becomes a subtle commentary on modern Iran—a country where global youth culture seeps in through smartphones and social media, often to the bewilderment of older generations.

 

What elevates K-Poper beyond a simple coming-of-age drama is its deep exploration of how passions shape identities across generations. The film suggests that people often define themselves through art—through the music they love, the icons they follow, the performances that move them. This act of emotional investment becomes a universal language, connecting people across age, geography, and culture. In Maedeh’s case, K-Pop becomes not just entertainment but an identity, a symbol of hope and possibility.

 

The film’s production faced significant challenges. Amini and his crew shot in remote Iranian villages and under heavy snowfall, conditions that added logistical difficulty but enriched the film’s authenticity. The snow-covered landscapes and rustic settlements form a striking contrast to the neon-lit, polished world of Korean pop music that Maedeh longs for. This contrast, captured beautifully on screen, becomes a metaphor for her inner struggle—a clash between her grounded reality and her soaring aspirations.

 

The authenticity gained from shooting in rural environments also enhances the film’s emotional texture. It reminds the viewer that Maedeh’s dreams are rooted in places rarely seen in mainstream portrayals of Iran. She is not a privileged teen from an urban metropolis; she is a girl from a traditional community, whose dreams extend far beyond the boundaries of her upbringing. The snow, the remote terrain, and the sense of isolation serve to highlight the magnitude of her ambition.

 

From a narrative perspective, K-Poper interweaves the stories of three generations, each shaped by their own cultural influences and personal disappointments. The grandfather symbolizes nostalgia; the mother embodies caution and fear; Maedeh represents hope and possibility. Their interactions reveal just how drastically cultural exposure has evolved over time—from Hollywood rebels to pop megastars from South Korea. The film delicately portrays the differing value systems of each generation, without judgment, allowing viewers to empathize with every perspective.

 

As a début film, K-Poper is impressively self-assured. Amini’s storytelling is both intimate and expansive. He situates Maedeh’s personal struggle within a broader cultural context, turning a simple narrative into a reflection on globalization, fandom, and the ties that bind families. His direction demonstrates sensitivity to character development, an eye for visual contrasts, and a deep understanding of the emotional landscape of adolescence.

 

 

K-Poper has already earned international attention, screening at major festivals such as the 56th International Film Festival of India (IFFI) 2025 and the 29th Tallinn Black Nights Film Festival 2025 in Estonia. This recognition is well-deserved, as the film’s themes resonate far beyond its cultural specificity. Maedeh’s journey is recognizable in teenagers everywhere—from Mumbai to Manila, from Tehran to Tokyo—who find solace and inspiration in global pop stars. Her struggle for self-expression is universal, making the film accessible to audiences around the world.

 

 

K-Poper is produced by Sajjad Nasrollahi Nasab, with world sales handled by 7th ART, led by Mr. Alireza Shahrokhi. Their involvement reflects confidence in the film’s ability to connect with international markets. In an increasingly interconnected cinematic landscape, K-Poper feels like a timely contribution—one that captures the global rise of South Korean pop culture while reflecting on local Iranian realities.

 

Ultimately, K-Poper is a beautiful, heartfelt, and multigenerational story of dreams, devotion, and the quiet rebellion that lies at the heart of youth. It highlights the power of art to inspire change, the tension between tradition and modernity, and the enduring strength of family bonds—even when they are tested by ambition. Amini’s film is both culturally specific and universally relatable, making it a significant debut that marks him as a filmmaker to watch.

 

With its moving portrayal of a young girl fighting for her voice, its rich generational tapestry, and its evocative settings, K-Poper stands as a testament to the idea that dreams—no matter how improbable—are worth pursuing. It is a film that asks audiences to remember their own youthful passions, to consider the dreams they once held, and to empathize with those who dare to dream today.