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Freedom of Belief
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Experiencing Tbilisi's cold shoulder

Georgia’s warm welcome doesn't extend to refugees fleeing Iran.

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

On a rainy night a pedestrian, holding a brolly, waits to cross a road.
Tbliisi, Georgia.
Aleksandr Popov on Unsplash.

On the surface, Georgia has a lot going for it: natural beauty, historic sites, lovely food and wine. 

It also boasts an extremely free market. Anyone can to set up a business of their choosing within a couple of hours, should they have the wherewithal. 

But therein also lies the rub. Life is not so easy for those without such wherewithal - perhaps they don’t have sufficient capital, or vision; a disability prevents them; or they try but fail. 

And then life is not so easy in Tbilisi. 

My focus on my recent trip to Georgia, as an employee of an Iranian Christian charity, was its small Iranian population - and principally those who have claimed asylum there. 

I spoke to several such individuals during my stay, and the conclusion that I reached was that Georgia is a lovely place to live, provided that you: a) have money; and b) are happy not to speak out about sensitive issues.  

Which, honestly, sounds eerily like the country from which my Iranian friends fled in the first place. 

When he ignored the warnings, the threats escalated. His car was broken into, and someone even came to his church, claiming to have a bomb strapped to himself. 

Take Reza, for example, who left Iran eight years ago and came to Georgia in the hope that in a country where nearly 90 per cent are Orthodox Christians, he would be free to practise his chosen faith. 

He even set up a church there, and for a while all was good. Until he started getting involved in protests against the regime back in Tehran.  

Reza joined demonstrations outside the Iranian embassy in Tbilisi - which is in a lovely area of town, right next to the Russian embassy and also, somewhat awkwardly, that of Ukraine. 

He also protested outside the “Ferdowsi Educational Complex” - a Shia school with a sign outside proclaiming it as an entity of the Iranian embassy. 

And for these protests, Reza received some, at first, gentle reprimands. He was called by a private number, encouraging him not to take such action again in the future. 

When he ignored the warnings, the threats escalated. His car was broken into, and someone even came to his church, claiming to have a bomb strapped to himself. 

It was only at this point that Reza decided, against his initial intentions, to claim asylum. 

But though the Georgian immigration service eventually acknowledged him to be a Christian - unlike many of his fellow Iranian asylum-seekers - they did not accept that this fact would put him at risk of persecution were he to return home. 

To which the only rational response is a wide-open mouth and outstretched arms. 

Have the Georgian immigration service not read the news? Do they not know that Christians - and more specifically, evangelical Christians and converts like Reza - face sustained and systematic persecution? 

The answer to this question, I was to discover, is two-pronged. 

Firstly, there is Georgia’s close relationship with the Islamic Republic, the reason for which, sadly and all too predictably, is of course money. 

“Georgia is a small country,” a lawyer who deals with immigration cases like Reza’s told me. 

“It’s surrounded by three big countries: Russia, Turkey and Iran, and can’t afford to have bad relations with all of them.” 

Both Russia and Turkey have history of seeking to occupy Georgia, while Russia has made no secret of its hope of re-establishing the territories it once held, including, one presumes, Georgia. 

In this context, it is little wonder that little Georgia does not feel able to cast aside so lightly its relationship with its third mega-neighbour, Iran. 

And when an Iranian claims asylum in Georgia - on whatever grounds - what message would it send for the Georgian government to recognise that claim? 

In the case of Christians like Reza, the message would clearly be that Iran persecutes Christians, which is an uncomfortable reality for a close ally of Iran to publicly admit. 

You can search his name on Google, in both English and Persian, and it’s safe to say that what you would find would not please the Islamic Republic. 

The second prong at play, meanwhile, which is equally uncomfortable to speak about, is the reality that in general Georgia’s Orthodox Christians tend to share some of Iran’s ill-feeling towards evangelicals. 

“They think of us the same way as Jehovah’s Witnesses,” Reza explained. 

“A Georgian friend of mine accused me three times of being a spy for America,” another convert told me. 

Another, whose case was rejected because Georgia’s immigration service did not accept he was a Christian, told me the questions he was asked in his interview related only to elements of the Orthodox faith, about which he had no idea. 

And when this individual sought to explain his own reasoning for his deeply held faith - for which he was arrested in Iran - they told him he could only answer the questions posed. 

And so he said that he could not. And so they rejected his claim, declaring that it had not been established that he was a Christian.  

An easy win.  

I could focus now on the particular challenges faced by asylum-seekers who are unfit to work - two of whom I met, and who receive no support from the state - but I would like to close with one final example which I think highlights the absurdity of the situation. 

And that is the example of Behzad Asiaie, an Iranian whose claim for asylum was based on his political activity and not his faith, although he has since converted to Christianity - for which he blames Reza, as, no doubt, would the Iranian and dare I say even Georgian government. 

The striking thing about Behzad’s case is that it’s extremely well documented. You can search his name on Google, in both English and Persian, and it’s safe to say that what you would find would not please the Islamic Republic. 

For one thing, Behzad has already spent a year in Tehran’s Evin Prison for his activism. Added to that, since arriving in Georgia five years ago, with no intention to claim asylum, he started a new activist group called Hamrasho (which means “all together”), which has organised protests about various things outside the edifices of the Islamic Republic in Tbilisi. 

As part of the protests, which is where Behzad met Reza, Behzad even filmed himself burning images of Iran’s Supreme Leader, and published it on social media. 

So, when the Georgian government rejected his eventual asylum case and told him that they didn’t think he would have any problem were he to return to Iran, the jaw really must drop open. 

My conclusion upon leaving Georgia was that it really is a lovely country -  provided that you have money and don’t make too much noise. 

I put this perspective to a Russian couple, who I met on my last night in town, and they - like Reza and Behzad before them - nodded in agreement. 

For they, like my Iranian friends, are exiles, having fled Russia because they are against Putin’s war. 

They told me they know of no other Russians among the thousands in Tbilisi who support Putin’s war, but nor do they know any who would be foolish enough to protest about it - whether back home, or outside the Russian embassy in the lovely Vake district of Tbilisi. 

I penned this article on my last night in Georgia in a Ukrainian restaurant housed roughly between the two edifices of the Islamic Republic of Iran, which felt about right. 

The entire restaurant is painted in the colours of the Ukrainian flag; the Wifi name is “Slava Ukraine”; and the password, I was told, translates as “super slava”. 

Which seems to be about the loudest protest that one can get away with in Tbilisi. 

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I’m not sure Christopher Nolan has actually read The Odyssey

The director has drunk the Kool-aid of modernity, and done so deeply
the head of a classical statue looks up amid embers around it.
The odyssey poster.
Universal Studios.

Greek myths are full of hubris. Full of it. I feel like ‘hubris’ isn’t a word you hear very often anymore. It means excessive pride or self-confidence that leads to a downfall, in case you were wondering. “Boris Johnson’s hubristic underestimation of the effects of ‘Partygate’ was the final nail in his political coffin,” we might say.  

In one myth, Icarus is imprisoned, but given wings held together by wax in aid of his escape. He is warned not to fly too close to the sun, because the heat will melt the wax. Guess what he does? Yep! Flies too close to the sun. The wings melt and he falls to his death. Hubris

Another myth tells the story of Prometheus. No, not the slightly underrated Alien prequel. (That’s right, I said underrated, but that’s another article for another day). Prometheus defies the Greek gods by stealing fire and giving it to humans. As punishment, Zeus ties Prometheus to a rock and has an eagle eat his liver, only for it to grow back overnight so the eagle can come back the next day and start again. Hubris. 

Greek myths are full of hubris. Full of it. 

And so, this is why I find the new poster for Christopher Nolan’s upcoming adaptation of Greek epic The Odyssey so … bizarre. But then I’ve been nervous about Nolan’s adaptation since it was announced. Nolan is a wonderful filmmaker, but he’s also deeply naturalistic in the messages he conveys. By this, I mean that all his films suggest that nature – the physical, material world of atoms and things – is all there is. Even when he has opportunity to explore themes of the mystical, or magical, or the supernatural, he only does so when a purely ‘natural’ explanation for such things is possible.  

For example, in The Prestige (and HUGE spoilers for the film here: it’s incredible, please watch it if you haven’t), Nolan tells the story of two rival magicians, played by Hugh Jackman and Christian Bale. Robert Angier (Jackman) is trying to work out Alfred Borden’s (Bale) teleportation trick. The secret? (Seriously: big, big spoilers here). Science. Nikola Tesla has invented a device that can clone someone but send the clone to a different location. The trick – the mysterious MacGuffin at the film’s heart – has a natural, scientific explanation. Magic isn’t real and you’re a fool if you think otherwise. 

Perhaps this is also why Nolan directed the wonderful Dark Knight trilogy. After all, Batman’s superpower is just wealth: it’s entirely naturalistic, with nothing that can’t fit into a scientific way of understanding the world. Or we could point towards the science fiction that underwrites Inception, Interstellar, and Tenet. For a filmmaker so gifted at tension and intrigue, he has surprisingly little truck with mystique, mystery, and the divine. But this is a problem when it comes to The Odyssey. A huge problem.  

Let’s return to that poster I mentioned earlier. It shows the head of a classical Greek statue, flames ember underneath it. The caption? Defy the Gods. And it’s at this point I start to wonder if Nolan has actually read The Odyssey. Because The Odyssey takes questions of divinity and their authority very, very seriously. Like many Greek myths and poems, the message of The Odyssey isn’t ‘defy the Gods’. No: it’s ‘trying to defy the gods is an unbelievably stupid, futile, and dangerous thing to do’. Nolan would seemingly have us raze Mount Olympus to the ground.  

Look, all we have is a poster so far. Nolan might prove me wrong. But we shouldn’t be surprised if Nolan reworks The Odyssey in such a way that ‘defy the Gods’ becomes its central message. Because Nolan is a quintessentially modern filmmaker.  

In a 1965 book called Freud and Philosophy, French philosopher Paul Ricœur described the modern period as dominated by a climate of suspicion or scepticism. Within this ‘climate of thought’, the straightforward understandings of things are actually deceptive, instead hiding hidden, deeper, and ‘truer’ meanings. He described Sigmund Freud, Friedrich Nietzsche, and Karl Mark as the ‘masters of suspicion.’ And so the world around us is to be approached suspiciously, to uncover the ‘truer’ meanings about our subconscious (so Freud), our false, religiously imposed morals (so Nietzsche), or our exploitative economic systems (so Marx). 

Each of Ricœur’s ‘masters of suspicion’ might be mapped on to one of the villains in Nolan’s Dark Knight trilogy. Liam Neeson is Ra’s al Ghul, a Freud-like figure who helps Bruce Wayne navigate the psychological effects of his parents’ murders in childhood. Heath Ledger’s mesmeric Joker is Nietzsche’s stand-in, exposing our misguided systems and structures of ethics, tethered to a religious framework we no longer hold to. Tom Hardy’s Bane is Marx, freeing Gotham’s proletariat from the economic structures that oppress them so. 

It's not a perfect fit, but I think there’s more than enough evidence to say that Nolan has drunk the Kool-aid of modernity, and he has drunk so very deeply. And this would be fine – absolutely fine – if he wasn’t planning to adapt The Odyssey. Because, as a quintessentially modern filmmaker, Nolan’s work emerges out of and celebrates a culture wherein ‘defy the gods’ is a slogan that can only be heard as heroic, courageous, and noble, rather than dumb and futile, as The Odyssey would stress to us. 

Defying divinity is not heroic. The Odyssey knows this and knows it well. Defying the gods never ends well for humans stupid enough to try in Homer’s work. Our modern sensibilities encourage us to be suspicious of institutionalised power, especially when that power takes a religious shape. We are predisposed to imagine that invocations of the divine are nothing more than thinly-veiled power-grabs. And sometimes they are. But The Odyssey is right to say that divinity itself is not to be trifled with. Renounce your creator at your peril. 

Like all his other films, Nolan’s The Odyssey is likely to be tense, wrought, and cinematographically immaculate. But also like his other films, I worry it will be deeply naturalistic in the way it handles the inescapably divine and supernatural elements present in Homer’s epic. The Odyssey has an important message for our increasingly hubristic society. I just worry that Nolan’s not the man to convey it as it deserves. 

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