About The Movie "My Favorite Cake"

This Turkish saying perfectly reflects the movie, and you will understand why by the end of the text.

 About a week ago, I had the chance to watch this movie. I had seen a few clips of it on social media and thought it was a lively, hope-filled film. And to some extent, it was. But by the end, I found myself crying so much that I could hardly continue watching.

The film begins by portraying the lonely life of a retired woman living in Iran. Her name is Mahin. She struggles with the difficulties of living alone—sleep problems, boredom, having no one to talk to... She has children, but they left Iran long ago and are busy with their own lives. Mahin tries to keep in touch with her friends, but distance and aging have made these meetings increasingly rare.

During one of these gatherings, Mahin's friends talk about loneliness, illness, and old age. They suggest that having someone in her life might be good for her. At first, Mahin is hesitant, but the idea starts to grow on her. It’s clear that she, too, is tired of being alone. After her husband passed away years ago, she chose not to remarry and instead focused on her children and career. However, loneliness spares no one; it creeps in and slowly consumes a person regardless of age. Fully aware of this for quite some time, Mahin begins searching for a companion. She starts paying closer attention to the people around her—whether at the bakery where she buys her bread or at the restaurant where retirees go for meals. She’s looking for a kindred soul, someone as lonely as she is.

During this search, Mahin notices a man dining alone at a restaurant—Faramarz. As she eavesdrops on a conversation between Faramarz and some men at a nearby table, she realizes that he, too, is a lonely, unmarried man. She also learns that he is a taxi driver. After leaving the restaurant, Mahin goes to the taxi stand and asks about him. When Faramarz arrives and hears that someone is looking for him, he is surprised and approaches Mahin. She tells him she needs a taxi. Faramarz offers to call another driver, but Mahin insists that she wants to ride with him. And so, our story truly begins.

As they chat, Mahin invites Faramarz to her home. Faramarz, realizing that Mahin is interested in him, is delighted and accepts her invitation. As you may know, Iran has been under strict governance for a long time. An unmarried man and woman being together in the same house—or even just meeting—can lead to serious trouble. Aware of this, Faramarz stops the car in front of Mahin’s house and decides to park somewhere less conspicuous. Mahin warns him that her neighbor is a very grumpy woman and that hearing a man’s voice in her house could cause problems.

Before Faramarz arrives, Mahin excitedly picks out one of her nicest dresses and prepares for the evening. Initially, Faramarz is a bit reserved, but he soon relaxes. They enjoy the food Mahin has prepared and drink wine together. Throughout their conversation, it becomes increasingly clear how much both of them long for a moment like this—to sit at a beautifully set table, share a meal, and engage in heartfelt dialogue with someone they care about. They both seem overjoyed.

As they drink wine and eat, Mahin’s neighbor suddenly hears a man's voice and immediately comes to investigate. Thinking quickly, Mahin claims that a repairman had come. She also tells the neighbor that her friend and daughter will be visiting for a birthday celebration and that there might be music playing. The overly curious neighbor doesn’t seem convinced but leaves anyway.

Now completely intoxicated, Mahin and Faramarz begin to dance. They are as cheerful as children. At one point, we see Faramarz step into the bathroom to take some medication. Earlier, on the way home, he had stopped at a pharmacy. After dancing for a long time and growing tired, they move on to more intimate conversations, but Mahin, feeling a bit shy, decides to postpone that topic. Instead, she starts preparing a cake. As she bakes, she continues talking, but when Faramarz doesn’t respond, she becomes worried and goes to check on him. She finds him in the room, seemingly asleep. But when she tries to wake him, he doesn’t respond.

Mahin soon realizes that Faramarz is no longer breathing. Despite her desperate attempts, he doesn’t open his eyes. There is a striking detail in this part of the film—Mahin, in a moment of panic, initially reaches for the phone to call an ambulance but then mutters, "It’s too late," and hangs up. As a retired nurse, she immediately recognizes that Faramarz cannot be revived. But beyond that, she is also paralyzed by fear—fear of the severe consequences of having a dead man found in her home. Normally, in such a situation, the first thing anyone would do is call for help, but Mahin cannot. This is just one example of the tragic outcomes that result from oppressive societal pressures.

Realizing she has no other option, Mahin begins digging a hole in her garden, crying the entire time. She decides to bury Faramarz there. With great care, she prepares his body and lays him to rest in the very garden he had admired so much earlier in the evening. He has now become a part of it forever.

This film masterfully highlights themes of life, aging, loneliness, the tragic consequences of oppressive societal norms, and the universal human need for love and connection at any age. The unexpected and heartbreaking ending left me in tears for a long time. I felt Mahin’s desperation in my bones.

Beyond Mahin and Faramarz’s relationship, the film also vividly portrays the harsh reality of life under strict moral policing. Scenes of Mahin’s interactions with a young woman she saves from being arrested, her cautious efforts to keep her relationship with Faramarz hidden, and the ever-present fear of punishment all illustrate the gravity of the situation.

Faramarz’s cause of death was his body’s inability to handle the combination of alcohol and the medication he had taken that night. Despite its devastating conclusion, I deeply loved this film. It presents raw, authentic glimpses into the lives of various individuals—an honest portrayal of humanity in its different forms.