The feature-length animated film, The Last Fiction, stands as a monumental achievement in Iranian cinema and animation. This two-dimensional animation is a free adaptation of the famous “Zahhak and the Uprising of Kaveh and Fereydun” from Ferdowsi’s epic poem, the Shahnameh (The Book of Kings). Beyond its stunning visual presentation, The Last Fiction has garnered significant international acclaim, winning numerous awards at festivals worldwide.
According to IBland, notably, it was officially selected by the Academy Awards as Iran’s representative in the Best Animated Feature category for the 2020 Oscars. While its themes of darkness, tyranny, and rebellion are profound; making it unsuitable for young children due to the depicted violence and fear; it serves as a crucial cultural tool, ensuring that the vital narrative of Zahhak, one of the Shahnameh’s most renowned stories, is etched into the minds of new generations, thereby deepening their connection to Iranian culture and literature.
A Deep Dive into the Story and Mythology of The Last Fiction
The plot of The Last Fiction is a dramatic re-imagining of a classical Persian legend. It chronicles the downfall of the mythical King Jamshid and the rise of the tyrannical figure Zahhak, culminating in the people’s revolt led by Kaveh the Blacksmith and the young hero Fereydun. The film skillfully navigates themes of hubris, corruption, and the eternal conflict between divine power and evil.
Core Narrative Events
The events in The Last Fiction follow the tragic trajectory of King Jamshid. Jamshid, a figure blessed with Farr-e Izadi (Divine Glory), successfully built the utopian city of Jamkard and defended it from the Ahrimanic forces. However, his success leads to consuming arrogance; he declares himself god-like. The divine grace abandons him, and he vanishes after setting out on a conquest campaign. Jamshid leaves the rule of Jamkard to Mardas, the governor of the Southern Lands and Zahhak’s father.
Upon Mardas’s death, his son, Zahhak, ascends to the throne. But Zahhak, consumed by resentment and hunger for power, forges a pact with the Ahriman (Evil Spirit). Satan kisses his shoulders, causing two venomous serpents to sprout from them. Zahhak’s tyranny is established as he feeds the serpents daily with the brains of two young men from Jamkard, seeking a dark form of immortality.
The escalating atrocity sparks a popular uprising. Kaveh the Blacksmith, having lost his own children to Zahhak’s monstrous hunger, emerges as the leader of the dissent. He takes the infant Fereydun, the last hope of Jamshid’s lineage, under his protection. Together with Fereydun and the rightful heroes (Gordan), Kaveh raises an army, with Fereydun as its commander, to march against Zahhak.
The battle is a symbolic war of light against darkness, where the forces of Yazdan (God/Goodness) are aided by Shahrasb, the wise Magus, and eventually triumph over the Ahrimanic power embodied by Zahhak. The tyrant is ultimately defeated and chained inside Mount Damavand, not killed, so he may serve as a perpetual warning against tyranny.
Key Characters in The Last Fiction
The film’s rich cast of characters brings the Shahnameh to life:
- Zahhak: The primary antagonist, driven by a dark pact to become a Serpent-Shouldered tyrant. (Voiced by Hamed Behdad)
- Fereydun (Afrīḏūn): The young hero, son of Farānak and Ābtīn, destined to overthrow Zahhak and restore justice. (Voiced by Ashkan Khatibi)
- Kaveh (Kāveh): The courageous blacksmith and leader of the popular revolt, who secretly safeguards Fereydun. (Voiced by Akbar Zanjanpour)
- Shahrazad (Shahrzad): The daughter of King Jamshid, held captive by Zahhak due to his obsession. She also serves as the film’s narrator. (Voiced by Leila Hatami)
- Jamshid: The once-glorious king whose arrogance leads to his fall and the kingdom’s subsequent ruin. (Voiced by Hasan Pourshirazi)
- Mardas: Zahhak’s father, appointed regent by Jamshid. (Voiced by Hasan Pourshirazi)
- Ahriman: The embodiment of evil and the orchestrator of Zahhak’s dark transformation. (Voiced by Bita Farrahi)
- Shahrasb: The wise Magus whose guidance is crucial for Fereydun’s army. (Voiced by Farokh Nemati)
Production Excellence and Global Recognition for The Last Fiction
The Last Fiction is the debut feature film by writer and director Ashkan Rahgozar, developed by Hoorakhsh Studios. The lengthy production process, spanning from 2008 to 2017 (1387 to 1396 SH), attests to the meticulous effort invested in this two-dimensional masterpiece.
International Acclaim and Film Festivals
The film’s journey to international recognition began early:
- Annecy International Animated Film Festival (2013): The Last Fiction was first introduced at the most important annual animation festival, signaling its quality to the world.
- Cannes Film Festival (2016): It was again featured and promoted in the Cannes Film Market.
- Academy Awards (2020): The Last Fiction was the official submission from Iran to compete in the Best Animated Feature category, a huge honor that positioned it among the world’s elite animations.
This consistent international presence validates the film’s high production standards and its universal appeal, despite its specific grounding in Persian mythology. The successful reception of The Last Fiction on the global stage highlights the potential of Iranian animation.
An All-Star Voice Cast: The Human Element
One of the most notable aspects of The Last Fiction is its use of renowned, established Iranian actors for voice acting (dubbing). This strategic choice, often seen in major international animations, lends familiarity and emotional depth to the characters, enhancing the audience’s connection. The cast includes:
- Parviz Parastouee (as Tahmoures and Arshia)
- Leila Hatami (as Shahrazad)
- Hamed Behdad (as Zahhak)
- Akbar Zanjanpour (as Kaveh)
- Ashkan Khatibi (as Fereydun)
- Baran Kosari (as Mandana)
- Hasan Pourshirazi (as Jamshid and Mardas)
- Bita Farrahi (as Ahriman)
The director’s meticulous selection process ensured a natural synergy between the actor’s voice signature and the animated character’s movements and personality, bringing a fresh, engaging dimension to these ancient figures. The depth of emotion conveyed through their voices, particularly in the dramatic transformation of Zahhak and the resolute leadership of Kaveh, allows audiences to empathize profoundly with the struggle portrayed in The Last Fiction.
Creative and Dramatic Elements of The Last Fiction
The film’s narrative structure is a testament to calculated and thoughtful screenwriting.
The Modernization of Myth
Rahgozar’s adaptation is described as a “free adaptation,” granting him the artistic license to dramatize key events. The famous image of Zahhak as Mār-Dūsh (Serpent-Shouldered) is given a sophisticated, modern anti-hero arc. The Last Fiction effectively explores the psychological descent of Zahhak from an ambitious man with parental resentment to a figure completely consumed by the Ahrimanic darkness. This dramatization focuses on the human condition; the vulnerability of man to eternal temptations of power, greed, and immortality; making the ancient tale highly relatable to a contemporary audience.
The Balance of Dark and Light
The narrative deliberately codes the arrival of hope precisely at the darkest moment. As Zahhak’s tyranny reaches its peak and darkness threatens to engulf the world of the story, the secret birth of Fereydun; the child destined to become the hero; is introduced. This technique ensures a calculated dramatic tension that sustains the audience’s hope and investment in the future of Jamkard. The careful pacing and precise direction, combined with the film’s broad appeal, ensure that The Last Fiction is a captivating cinematic experience.
Themes of Eternal Conflict and Relevance
The Last Fiction is highly relevant and enduring because it tackles the eternal, universal human conflict. The battle between conscience and immorality, between ethical behavior and self-serving hubris, is a struggle that resonates across cultures and time periods. The film is a powerful commentary on how internal weaknesses can invite external ‘Ahrimanic’ influences, a theme that allows The Last Fiction to be viewed, analyzed, and applied to real-world socio-political challenges at any given time.
The Last Fiction thus transcends its role as an animated film; it is a cultural preservation project, a dramatic tour-de-force, and a successful piece of international cinema, proving that stories from the rich tapestry of Persian literature can capture a global imagination. The legacy of The Last Fiction is set to inspire future generations of Iranian animators and storytellers.
Source: imna