Mohamed Ali Nahdi, a Tunisian actor and director, served as a standout presence at the 43rd Fajr International Film Festival with his latest feature, “Round 13,” which won the Crystal Simorgh for Best Film in the Future Frame section — a category dedicated to first and second features that spotlight emerging cinematic voices.
“Round 13” tells the story of Kamel, a former boxing champion who leaves the ring to spend more time with his wife Samia and their son Sabri. When Sabri is diagnosed with cancer, the family faces a desperate struggle, capturing a deeply human story of resilience and hope.
Nahdi studied cinema at the Conservatoire Libre du Cinéma Français in Paris, where he earned his diploma as an editor. He directed several acclaimed short films, including “The Project” (2008), “Once Upon a Time at Dawn” (2010), and “Fatum” (2018), which received a Special Mention from the Young Jury at the Montpellier International Festival of Mediterranean Film. “Moez the End of the Tunnel” was his first feature film.
In this interview with the festival’s press office, Nahdi discusses poetic cinema, his experience at FIFF, and reflects on “Round 13,” his second feature film.
Given the title “Round 13,” many might assume the film is about boxing. Is that the case?
Not exactly. It is not about boxing itself, but about boxing as a metaphor. It represents the fight for life. The main character is a former boxer, but the fight does not take place in the ring. It takes place in life. I used boxing as a metaphor for his struggle to save his son.
Where did the idea for “Round 13” originate?
The idea came from my desire to play a boxer. As an actor, I had always dreamed of portraying a boxer. That idea stayed with me for years. When I returned to it, I kept the notion of fighting but transformed it into a metaphor. The fight moved from the ring into life itself. From there, I built the story of a man facing an internal struggle rather than a physical one.
This edition of the FIFF focused on poetic cinema. Did you feel that atmosphere during the event?
Perhaps the poetic element was most present in the films themselves. Even in my film, there are several poetic moments. I did not want to express everything directly, so some scenes relied on poetic expression rather than explicit narration.
Do you believe poetic cinema is more about emotion or visual language?
It depends on the project. It is both about how you film and what you choose to film. In my case, some scenes are poetic because they are not direct. I did not state things explicitly but chose a poetic way of expressing them.
Which aspects of the “Round 13,” do you personally consider poetic?
Mainly the way certain scenes were shot. This film is very different from my earlier, more action-oriented and fast-paced work. With “Round 13,” I deliberately slowed things down. An Indian director once asked me whether the film was dramatic, and I said no — it is calm. I took my time and gave space to the actors. Even the camera movement is minimal. This technical restraint forms the poetic side of the film.
If the audience takes only one message from your film, what would you want it to be?
The film is challenging because it does not have a happy ending. Some producers even asked me to change the ending, but I refused. Reality is not always happy. The film is about accepting what is unacceptable. I am living a similar experience in my own life with my mother, who is ill. At first, I refused the situation and fought against it. Eventually, I learned to accept it and live with it. In the film, the parents go through the same process. They fight against their child’s illness, but in the end, they accept it — even the loss. This is life. I am not trying to teach lessons, but to open a window onto what we truly experience as human beings.
With your perspective on cinema, which filmmakers have shaped or influenced your work the most?
There are many. I have always admired the work of Martin Scorsese, Brian De Palma, George Lucas, and James Gray. Of course, I am also deeply influenced by earlier masters, from Elia Kazan to Jean-Luc Godard.
How was your overall experience at the Fajr International Film Festival this year?
This was actually my first time in Iran and at the festival. I was very happy when I was informed that the film had been selected because I had heard a lot about the festival. It is not a new event; it is very well known, and as you can see, it has already reached its 43rd edition. Iranian cinema, in particular, is highly respected worldwide. We screened the film, and the audience was present and very responsive. They loved the film. After the screening, many people came to me, took photos, and expressed how much they appreciated the movie. For me, this response from the audience is the greatest award. I always say that the best prize is the audience itself. When they connect with the film, it brings deep satisfaction. Then, at the closing ceremony, we won the Best Film award. I can only be grateful and happy for this experience.
What was your reaction when you heard that your film had won Best Film in the Future Frame section?
It was a very pleasant surprise. This was our third festival participation. We had our world premiere at the Tallinn Black Nights Film Festival, a Category A2 festival. Then we screened at the Cairo International Film Festival, where we won Best Performance for the actress. And now, winning Best Film here — many good things have happened to the film, especially at the very beginning of its journey on the festival circuit.
In what ways might this recognition at FIFF shape your approach to future films?
To be honest, this is not my first award. I originally come from an acting background, and about ten years ago, I decided to move behind the camera. I have made four short films, and “Round 13” is my second feature film. All my films have received awards. That said, I am always happy when a film is recognized. Sometimes you participate in festivals and do not win, but when you do, it is always meaningful. For the future of “Round 13,” especially as we are still at the beginning of its festival journey, this award will certainly help in upcoming screenings.
In the end, what advice would you give to young filmmakers?
Never give up. Nothing came easily for me. I approach life like a marathon — I am a marathon runner, and even when it hurts, I keep going. Believe in your dreams and follow them to the end. Watch a lot of films. The classics are essential, but it is equally important to stay connected to contemporary cinema. Work hard. Try, even if you make mistakes. Today, filmmaking is more accessible than ever. You no longer need expensive equipment. I have seen excellent short films made on mobile phones. Practice every day and keep the spirit of a real fighter.
