A young woman is terrified of going through the airport after her plane lands. She is alone, and she barely talks to anyone. When we learn what she is hiding from, we realize that innumerable Iranian women might be going through the exact same scenario. In Cyrus Neshvad’s captivating short film, The Red Suitcase, this young girl must make swift decisions to ensure her survival.
Sixteen year old Ariane, played by Nawelle Ewad, won’t let go of her red suitcase, and she won’t let it be placed on the belt after she lands in Luxembourg. When customs approaches her, they search her belongings and only find art supplies and sketches. After they leave her, however, she still won’t enter the main part of the airport where we see an older man waiting for Ariane with a bouquet of flowers.
It becomes clear what Ariane is staying away from, but Neshvad’s film does it skillfully with little to no dialogue. Even if Ariane makes her way out of the corridor, she doesn’t know anyone else in this new city, and she definitely doesn’t know anyone. The airport is her temporary sanctuary, and her red suitcase might just give her away. Ewad’s big eyes transmit a lot of emotion, especially when she doesn’t know what she can say and who she can say it to. Neshvad’s direction is space and allows the story unfold in a simple and compelling way.
The Red Suitcase is an example of how best laid plans don’t always go according to plan, especially when the plan itself is being made up on the fly/ The piece of luggage itself represents a way out but also a way to identify Ariane as she flees. Just imagine the number of women in every airport who is looking for a new life. They might be taking only what they need or can’t leave behind, and those items might not even make it to the final destination.
