Love Child | Little White Lies

Love Child

06 Nov 2020 / Released: 06 Nov 2020

Words by Leila Latif

Directed by Eva Mulvad

Starring Leila, Mani, and Sahand

Woman in dark jacket, standing in front of wires, with serious expression on her face.
Woman in dark jacket, standing in front of wires, with serious expression on her face.
3

Anticipation.

A great reception from its festival run but will this just be revelling in the misfortune of others?

4

Enjoyment.

This is moving. I am moved.

4

In Retrospect.

A compelling story with tragic relevance for our time.

Eva Mulvad’s mov­ing docu­d­ra­ma sees an Iran­ian cou­ple flee their home to fol­low their hearts.

A weep­ing man fran­ti­cal­ly packs a suit­case, say­ing in Far­si, I not sure tomor­row I will be dead or alive”. We then cut to his euphor­ic arrival in Turkey, where he is now accom­pa­nied by a woman and a young boy, all three claim­ing asy­lum. Fol­low­ing var­i­ous long-form inter­views with these peo­ple, it remains unclear who, or what, they are run­ning from until the woman, Leila, then grim­ly lays out their back story.

Eva Mulvad’s Love Child is a doc­u­men­tary which attempts to chron­i­cle this strange sit­u­a­tion. Trapped in a vio­lent­ly abu­sive mar­riage in Iran, Leila fell in love with Sahand, and their son Mani was born of the affair. Her abu­sive hus­band assumed pater­ni­ty but became increas­ing­ly hos­tile and so she had to flee with her son and lover.

The pun­ish­ment for adul­tery in Iran is pub­lic exe­cu­tion so there is no prospect of return. Sahand is acute­ly aware of the stakes, hav­ing seen a woman pub­licly stoned to death. His eyes glaze over as he rec­ol­lects the hor­rors he wit­nessed, I saw a woman being stoned. That was the most vio­lent of all. It’s not like watch­ing a movie. I watched her die right in front of me”.

The film fol­lows the trio from 2012 to 2018, as they set­tle in Turkey and hope to get to Amer­i­ca. Mani is a sweet but trou­bled child, not only uproot­ed but also com­ing to terms with his uncle” now being his father. Over the years he flour­ish­es along­side his lov­ing par­ents, who restart their careers and build con­nec­tions, but the spec­tre of being sent back puts a strain on their hap­py family.

Moments of joy are inter­spersed with troughs of guilt and survivor’s remorse. Mul­vad nev­er lets us for­get what is at stake. In many respects this is a con­ven­tion­al doc­u­men­tary, struc­tured chrono­log­i­cal­ly with inter­views at reg­u­lar inter­vals which pro­vide back­ground detail, but the cap­ti­vat­ing sub­jects make for grip­ping view­ing. It is a heart­break­ing look at lives endan­gered by the cru­el bureau­cra­cy of the refugee crisis.

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