Delaram Shemirani is a passionate storyteller with over 10 years of editing experience. Her work has been featured in a variety of projects for global companies, many of which have been screened at prominent festivals, including Cannes, Berlinale, and Venice, and have been honoured with numerous awards.
Can you tell us a bit about yourself and your background in filmmaking? What inspired you to pursue a career in the film industry?
I am an Iranian filmmaker with a background in mathematics and physics, having earned my high school diploma in these subjects. My first encounter with storytelling and the camera came from my parents, who used to film everything with a Handycam. Growing up, I was fascinated by the way stories could be told through film.
My passion for cinema was deeply influenced by the political and cultural landscape of Iran in the late 1990s. During President Khatami’s tenure, censorship was eased, leading to a surge in social and political storytelling.
This new wave of filmmakers inspired meaningful discussions, and going to the cinema became a weekly ritual for my family. The combination of personal archives from my childhood and the vibrant film industry of the time shaped my deep appreciation for storytelling—particularly documentary filmmaking.
At 18, I decided to shift my focus from mathematics to film editing and pursued my studies at the Art University of Tehran. My academic achievements earned me membership in The National Elites Foundation, a prestigious recognition awarded to top-performing students in the National University Entrance Exam. Throughout my career, I have worked as an editor on numerous feature films, short films, and documentaries, many of which have been recognised at prestigious international festivals, including Cannes Film Festival – Leila’s Brothers (Winner of the FIPRESCI Prize), Venice Film Festival – La Loi du Tehran, Berlin Film Festival – The Pig.
My contributions to the industry led to my membership in the Iranian Editors Alliance Motion Picture Guild.
In 2023, I moved to the UK, where I continued working on documentary projects, such as The Doll (Winner of Best International Documentary at Hot Docs Festival), Can I Hug You? (Sheffield Doc/Fest), A Move (British Independent Film Awards).
As an editor, I am particularly drawn to documentary filmmaking, especially projects that incorporate archival footage. The ability to piece together real stories and bring historical narratives to life through editing continues to fuel my passion for filmmaking.
What does being part of Berlinale Talents mean to you? Is there something about the city that resonates with your creative process?
Being selected for Berlinale Talents means a lot to me, it was a dream come true. I am incredibly excited to be part of this inspiring group, to meet so many talented individuals, and to explore new perspectives and experiences that I haven’t encountered before.
What excites me the most is hearing from friends who have been part of Berlinale Talents in the past. They’ve all described it with just two words: "transformative" and "unforgettable." That alone makes me eager to discover it for myself and see how it will shape me as a storyteller.
Berlin, as a city, is full of stories. Its historical significance, political transformations, and social dynamics make it a place where creativity thrives. The layers of history, and the artistic energy that flows through the city create an environment where storytelling feels limitless. That’s what makes me so curious about it.
How do you balance expressing your unique voice while creating work that resonates with audiences around the world?
For me, my unique voice as an editor lies in how the stories I shape resonate emotionally with audiences—no matter where they are from. I believe that emotions are universal, and if a film can truly connect with people on a deeper level, it transcends cultural and geographical boundaries.
I’ve honed this skill over time, and interestingly, therapy has played a crucial role in that process. It has taught me how to "read the room" while reviewing footage, what questions to ask when selecting scenes, and how to balance my perspective, knowing when to step into the filmmaker’s vision and when to view the film as an audience member.
Beyond that, I actively immerse myself in different cultures, watching films, reading books, and engaging with stories and people from diverse backgrounds. This helps me understand which themes and emotions are universally resonant, allowing me to craft stories that feel both personal and globally relevant.
This year’s theme is 'Listen Courageously – Cinematic Narratives in Times of Dissonance.' How does the theme connect to your work and the stories you want to tell?
As an editor, listening is at the heart of my work, not just to dialogue or sound, but to the rhythm of a story, the emotions within the footage, and the silences that speak just as loudly as words. To "listen courageously" means to engage with stories and characters that challenge, disrupt, and demand deeper understanding, especially in times of dissonance. The films I choose to work on often explore social and political complexities, marginalised voices, and historical truths, narratives that may be uncomfortable but are necessary to tell. In moments of conflict or division, cinema has the power to bridge gaps by allowing audiences to step into perspectives they might not otherwise consider. My role as an editor is to shape these narratives in a way that not only informs but also evokes empathy and connection across cultures and backgrounds.
I believe that in times of uncertainty, storytelling becomes even more vital. It is through films, especially documentaries and archival storytelling, that we can uncover hidden truths, preserve histories, and foster conversations that might not happen otherwise. For me, "listening courageously" is about leaning into discomfort, questioning assumptions, and finding the humanity in every story, and that’s exactly what I strive to do through my work.