Ali Asgari’s Satirical Masterpiece 'Divine Comedy' Debuts in Italian Cinemas

On January 15, 2026, Italian cinemas welcomed the premiere of "Divine Comedy" (originally titled "Komedie Elahi"), a satirical film by the dissident Iranian filmmaker Ali Asgari. This cinematic work first garnered international acclaim during the 82nd Venice International Film Festival in 2025, where it was featured in the prestigious Orizzonti section. The film serves as a sharp, biting critique of the suffocating bureaucratic landscape that defines modern Iran.

Having received his professional training in Bologna, Asgari infuses the narrative with a unique perspective, arguing that the film's humor is born from the sheer absurdity of systemic oppression. For the characters, this dark comedy acts as a vital mechanism for quiet survival. The story centers on Bahram, a director in his forties whose creative output has been consistently stifled by the Ministry of Culture and Islamic Guidance. In one particularly absurd instance of censorship, officials demanded the removal of a dog from his film, citing violations of Islamic ethics—a stark illustration of the rigid constraints placed upon Iranian artists.

Critics have drawn parallels between Asgari’s tragicomic style and the works of legendary directors like Woody Allen and Nanni Moretti. The plot follows Bahram on a clandestine mission to screen his work following yet another official rejection. He is accompanied by Sadaf, a spirited young producer whose bright pink Vespa scooter evolves into an accidental symbol of defiance. Interestingly, the role is played by Sadaf Asgari, who portrays a fictionalized version of herself. Her performance carries a heavy sense of authenticity, as she was previously barred from working in Iran after her appearance at the Cannes Film Festival.

The film is a testament to international collaboration, involving a diverse group of production houses such as Seven Springs Pictures, Taat Films, Zoe Films, Salt for Sugar Films, and Films Studio Zentral. This partnership spans across Iran, Italy, France, Germany, and Turkey. While the film has successfully reached Italian screens, Ali Asgari himself remains in Tehran, unable to attend the screenings due to flight cancellations amid ongoing protests and widespread internet blackouts. This is not the director's first encounter with state restrictions; he was previously hit with an eight-month travel ban following the 2023 Cannes premiere of "Terrestrial Verses." In recognition of his resilience, the Cineteca di Bologna launched a retrospective of his work on January 13, honoring his ties to the city where he studied.

At the heart of the movie lies a poignant declaration from the protagonist: "I want to show my film to become a human." This sentiment encapsulates the enduring struggle for creative liberty under authoritarian rule, where even the presence of a domestic animal on screen can trigger state intervention. Asgari’s work joins a broader movement of resistance, echoing the experiences of other Iranian filmmakers like Jafar Panahi, who has faced imprisonment and travel restrictions for his refusal to submit to censorship. Asgari has noted that his previous projects, including "Kafka in Tehran," reached over 10 million viewers through underground distribution networks. For many Iranian creators, securing an international release remains the only legitimate avenue to share their vision with the world.