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Freedom of Belief
6 min read

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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The 21: wrestling truth from a story of horror

Remembering the Coptic Martyrs a decade on.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

An graphic image shows 21 men in orange suits kneeling in front of executioners in black.
MORE Productions.

In 2015, 21 men were kidnapped, tortured, and eventually killed by ISIS. Twenty of those men were Coptic (Egyptian) and one, Matthew, was Ghanian. They were all Christians. And that is why they were killed.  

Over the past decade, the story of their martyrdom has been widely told. And yet, the only piece of visual storytelling that existed was the propaganda video, filmed and released by ISIS. A film that was intended to scare the world and dehumanize the men, a film that glorified violence and hatred.  

We’ve known the story of the men’s execution, but we’ve only known it as told by their executioners.  

That’s no longer the case. On 15 February 2025, ten years since their death, the story of the 21 is being re-told by a team of over seventy artists from 24 countries, directed by Tod Polson, and in collaboration with the global Coptic community. The short film, The 21, will premiere on the anniversary of the men’s death and be featured at film festivals throughout 2025.  

We knew a story, now we’re hearing their story. 

I was able to talk through the details, how and why this short-film was made, with one of its producers – Mandi Hart of MORE Productions. After watching the film a handful of times, and needing ten minutes to recover after every viewing, I had lots to ask Mandi. Firstly, I wanted to know all about the visual aesthetic.   

This film is animated, which feels like both a defiance and a kindness. It’s a defiant choice because it ensures that this film stands in contrast to the film that was released ten years ago, where pure terror was the only story-telling objective. Nothing about this film is reminiscent of that one. And that’s a kindness to us, the audience. We’re not totally spared, however, as carefully selected moments of the original footage are woven into this short film, reminding us that these men – the ones who were killed and the ones who did the killing - were as real as you and I. But, on the whole, we’re spared the worst of the horror. As Mandi noted,  

‘animation allows your imagination to fill in the gaps. It’s just as powerful a form of story-telling, if not more so’.    

Mandi’s right. This film will stop you in your tracks. More than anything, though, the visual aesthetic is an ode to the men who were lost and the community they belong to.  

Director, Tod Polson, travelled to Egypt to meet with Coptic iconographers and learn about the intricate ways they communicate in symbolism, iconography and art. Mandi told me that even details as subtle as the width of a line used or the placement of the eyes on a human face have deep wells of meaning held within them. Polson also visited Minya, the Egyptian region that was home to many of the martyrs, and gathered inspiration from the church that was built there in their honour. The film’s aesthetic derives from all of this, it’s drawn in alignment with what Polson learnt. In other words, the story is told in the language of the martyrs. Through the work of the seventy plus artists, this story is weaved into the story – the Coptic story, the Christian story. It’s rooted and yet timeless, a decade old and yet ancient.  

For the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin.

The film is a masterclass in learning the language of the ones to whom you’re paying tribute. The artists have honoured the martyrs on their own terms and according to their own story. It’s a special thing.  

It’s also a challenging thing. It’s a harrowing event, after all. It feels as though, through this film, we’re brought closer to the torture the men endured, given details that the mainstream media left unreported. Details such as, the floor they were forced to sleep on was continuously pumped with water, the relentless taunting and manual labour, the beatings, the fact that they were actually put in orange boiler suits, taken to the beach, and filmed three times. It was on the third time that they didn’t return.  

40 days, that’s how long the twenty-one were held for.   

960 hours.  

57,600 minutes. 

3,456,000 seconds.  

The longevity and intensity of the torture is nearly impossible to fathom. The fear they must have felt is mostly unimaginable. Mandi mentioned that she was probed by a continual set of questions as she studied this story, these men, and those days. The questions went along the lines of: what would she be willing to die for? Would she be brave enough to stand her ground? Would she be faithful to what she believes to be true? Would she choose a life without Jesus or a death because of him? It’s a hypothetical set of questions for Mandi, and for me too. But not for the 21 men.  

Finally, I wanted to ask Mandi about the inclusion of supernatural facets of the story – the improvable, un-fact-check-able stuff. If I was to be brave, I guess I would say the truest stuff. The way the heavens seem to open, rage, and weep; the subtle appearances of Jesus’s scarred and bloody feet; the mention of a prayer-fuelled earthquake in the prison; the glimpses of a supernatural army guarding the 21 men as they walked to their death. It’s quite weep-worthy, really. The closer these men get to their execution, the brighter and more vivid the ‘unseen’ becomes. 

Yet, it feels like quite a brave storytelling choice, to meld the provable with the improvable facts of the story.  

 ‘Only to us’, Mandi reminded me. ‘we, the cultural West, struggle with the supernatural stuff. It’s an affront to the ‘rational’. But we’re the minority. The majority, who have less cultural power, they don’t struggle with this stuff at all... ’ 

 This led us to speak about the seen and the unseen elements of reality, how – as Christians – we believe that all that we see is not all that there is. In fact, the things that cannot be seen are the realest things. And how, for the men standing on the beach, an assassin standing behind them, the veil between the seen and unseen was incredibly thin. It’s comfort that often makes the veil thicken out, Mandi reminded me, it’s the left hemisphere of our brains that tells us that all that we see is all that there is. When our safety and comfort are stripped away, what happens? For the twenty-one martyrs, it seems as though the veil became thread bare. As Mandi quite remarkably noted, ‘the human soul knows more than the mind is comfortable admitting’.  

The 21 is a short film about death, the death of 21 innocent men. It’s important that we give these men our attention, look them in the eye and weep with those who weep. But I think, in a way, this short film also tells the story of life. Life after death, life that death doesn’t put an end to. Life that confounds death, even. And in that way, this film tells both a particular story and a universal one, both their story and the story – the Christian story.    

Watch the trailer

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