Interview
Creed
Freedom of Belief
Middle East
S&U interviews
5 min read

Searching for purpose landed me in an Iranian court

Hassan tells how changing his belief is perceived as a threat to Iran’s national security.

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

A man walks through a dark alley, looking to one side, illuminated only by roof lights.
An alley in Zanjan, Iran.
Bahram Bayat on Unsplash.

Hassan is Iranian and a Christian; now living in the United Kingdom, he tells Belle Tindall his story. His name has been changed to protect his identity.  

Can you tell me your story, tell me how you became a Christian and what life in Iran was like as a result of that decision? 

Yeah, actually, I was born in Iran and in Muslim family. I grew up as a Muslim, and then at the age of sixteen, I became a Christian. I was questioning whether God exists or not, asking what the purpose of my life was, the purpose of the whole world, in fact. And, if there is a God, why are there so many injustices in this world, and around me?  

I went to Islamic theology first, because that’s what I knew. But, it left me feeling empty.  

And I remember, one day, I cried out to God, I said – ‘I don't know if you exist or not, I don’t know if you can hear my voice or not. But if you exist, and if you're hearing my voice, please talk to me directly.’ 

I was really desperate.  

A few months after that prayer, I was alone at home and suddenly a crucifixion appeared in my front of my eyes. I had no knowledge about Jesus’ death on the cross or anything like that. But that was it.  

I didn’t know that the Christian church was being persecuted at this point. And I remember, in the early years, learning that I couldn’t attend any church service because they weren’t able to accept Muslim converts. But I just couldn’t ignore this very strong voice in my mind and heart, telling me that only Jesus could save me. So, I had very deep peace in my heart. 

And am I right in thinking that you were arrested for your Christian faith?  

Yes, intelligence police came to my home one morning, showing me a paper that permitted them to search my flat. They didn’t actually tell me that it was because of Christianity, they just searched everything, took photos, and seized anything that was related to Christianity.  

Then they told me – ‘this is happening because you’re a Christian’, and they sent me to court. But, during my trial, they presented me with different charges: undermining the government and posing a threat to national security.  

So, how long were you in prison for? 

I as in solitary confinement for a month. But they couldn’t keep me in prison because years before I had gone through the process of becoming legally recognised as a Christian convert – when it wasn’t illegal. So, they had to release me. I also had human rights organisations putting pressure on the government to release me, they were working on my case. So, after a month I was released on bail.  

And is that when you came to the UK?  

Yes, because even when I was released, I wasn’t safe. They would call me all the time, they would call me in for interrogation constantly – they wanted to show me that they were still in control, that they knew everything. I was being monitored always. And so, mentally and emotionally, it was very difficult for me to stay there. I spoke with some leaders in my church who told me that it would be wise for me to leave Iran. It wasn’t safe for me; I didn’t have a choice.  

And how has your experience been, here in the UK?  

To be honest, to begin with, it was really difficult. Because of the torture that I had endured, I had a lot of trauma – and when I came here, I had nothing. I was learning a new culture, a new language. And I carried this trauma here with me. Spiritually, mentally, emotionally, it’s been very hard for me to be here.  

It was very dark.  

Can I ask you, in light of everything that you’ve experienced, what you think of the recent comments about the church ‘aiding bogus asylum claims’? 

I was a refugee. And when I arrived, my interviewer was a very kind lady. To get my immigration status only took two or three weeks, but that could have been because my story was already quite well-known, so there was evidence that I had been persecuted because of my Christian faith. My case had been on the internet.  

And I understand that some people aren’t honest about being Christians – and that would make it difficult for people like me. It’s tricky. I don’t want to judge anybody, because I understand, I’ve seen the other side.  

And it is a challenge.  

But I feel positive that even if somebody hasn’t been to church in Iran, it’s a good opportunity to share the gospel with them here in the UK. It’s good news that they’re here – even if they’ve come for a different reason.  

But I really do think that people are coming because they’re persecuted. They’ve been through so much. It’s hard for the Home Office, but the church have an important role to play – to support the people who have been persecuted, who have never before had a place to learn about or worship God. Those who have never had the freedom to express their faith, or live in their faith. I think the church has a really, really important job - to support them and stand behind them and speak for them.  

Review
Culture
Film & TV
4 min read

The Zone of Interest’s peripheral vision of evil

Director Jonathan Glazer bests Spielberg thanks to a quality of attention.
in an immaculate garden a family play in and around a small swimming pool. Beyond the garden wall, a barracks is visble with crematorium smoke rising beyond it.
The Höss family at play at their Auschwitz home.

This has been a tremendously difficult review to write. I’ve written and re-written this review for two weeks now. You will see why. 

The Zone of Interest begins idyllically. A family is picnicking by a lake. The men swim, the women pick berries in the woods. It's a gorgeous sunny day. The family happily drive home down an evocatively headlamp-lit country road. The father walks through their palatial house, turning off every light. The next morning the family are gathered outside to give the father his birthday present: a canoe. Two boys lead their blindfolded father gently down the steps from the house to the garden. The garden is magnificent: filled with flowers and immaculately kempt. 

The father is wearing an SS uniform. The camera pans round the garden. Behind the garden wall you see glimpses of barbed wire, belching chimneys, rows of dormitories. You hear shouts, moans, cries, gunshots. This is no ordinary house, no ordinary garden, no ordinary family. This is the home of SS-Obersturmbannführer Rudolf Höss, his wife Hedwig, and their five children. This is Auschwitz. Höss runs it. Hedwig runs their beautiful home. The children run around. That is the next 100 minutes of film. It's a realist family drama from the 1940s. The children are children, the wife is house-proud to a fault, and the husband is hard-working, ambitious, and keen to do a good job. I don’t want to say much more. You simply need to go and see the film. 

When Hannah Arendt published Eichmann in Jerusalem: A Report on the Banality of Evil it was controversial. Many commentators misunderstood or misrepresented her point. Evil acts - especially an evil act as totemic as the Holocaust - are not ‘banal’. The people who commit evil on such a scale often can be. A genocidal machine of such scale and complexity needs a tremendous number of cogs… they can’t all be murderous sociopaths. Eichmann was banal in himself - he was of average intelligence, uncreative in his thinking, a follower of fads and joiner of organisations. 

This is exactly how Rudolf and Hedwig are presented. Christian Friedel plays Höss with an almost continual ambience of low-level boredom. Pillow-talk with his wife, reading to his children, a discussion about the most efficient way to incinerate the Jews in his camp, is all spoken with roughly the same expression and tone. He clearly wants to do well in his work, but it doesn’t matter what the work is. Sandra Hüller gives Hedwig a marvelous, slightly nervous energy. She always seems to be keeping a combination of grasping envy and slimy smugness just barely contained beneath the surface of her features. She can’t think of much beyond the order of her house, the beauty of her garden, and her status among other SS wives. Their quality of attention is essentially absent.  

Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it. 

Not to be flippant, but they would be dreadful dinner-party guests, and not just because they are Nazis: they seemingly have no capacity for a thought that goes beyond themselves, and their immediate environment, and their immediate needs and wants. They are banal. 

Between them Jonathan Glazer (director), Łukasz Żal (cinematographer), and Mica Levi (musician) give a remarkable demonstration of the power of restraint. The camerawork is naturalistic and almost never showy. The performers look like they were given the latitude simply to be in the scene: no over-direction. The soundscape is hauntingly bare. There is little music or sound beyond the ambient. The mood is, of course, set by the fact that the ambient sounds are roaring furnaces, gunshots, and desperate screaming. The film does not attempt to make a point or demand a response; Glazer simply gives you a slice of domestic life that just happens to be located next door to a death-camp. 

Steven Spielberg has suggested this is the best film tackling the dreadful subject of the Holocaust since Schindler's List. He is wrong. The Zone of Interest is a far superior film. I love Spielberg, but Schindler's List is offensively bad. It takes a subject of such abject depravity and then tries to emotionally manipulate you into feeling bad: the music, the speeches, the more-is-more approach to showing you the pinnacle of human cruelty. Glazer has the maturity to recognise that looking directly at evil stops you from really seeing it.  As Augustine says, evil is nothing in itself. Evil is the corruption and annihilation of what is good and lovely. Evil isn’t some great monster that forever battles with God. God is good…no…God is Good. So evil is literally nothing - goodness in decay to nothingness.  

Glazer, whether intentionally or not, recognises this theological truth. Looking at the full abyssal nothingness of evil is beyond human comprehension. But if you see it in the periphery, then you see it. When you hear the screams of the innocent and at the same time see a woman cheerfully ignore them while she plays in a flowerbed with her infant daughter, then you recognise the potential for human depravity. You can’t truly encounter the nothingness of evil, and the dangers of letting its parasitical and destructive hunger spread, until you’ve watched others ignore it without missing a beat. I’ve never cried while watching Schindler's List. I cried while watching The Zone of Interest. Twice. 

Glazer et al have done the world a great service with this film. They’ve reminded us that the weapon against evil is the rejection of empty banality. Banality is loving yourself. To reject banality is to embrace a quality of attention that is truly outward looking. Rejecting banality is loving your neighbour as yourself.