Fremont: A Portrait that Reveals Depth in its Restraint

2–3 minutes

Babak Jalali’s ode to not-so-cookie-cutter life proves to be resonant with immigrant stories in Fremont.

Staff Writer

Shot in black and white, Fremont follows Donya (Anaita Wali Zada), an Afghani refugee and former translator for the U.S. military as she spends her days working at a fortune cookie factory in San Francisco. After being promoted to writing fortunes, the blistering isolation of her new position prompts her to send a message out with her contact information. Unsure of where it could wind up, she writes, “Desperate for a dream: Donya.”

With limited interactions, the eccentric yet blunt side characters share her silence with grace while reminding her of the life she left behind in Afghanistan. Daniel (Jeremy Allen White), who later enters as a romantic prospect, is a charming portrayal of new possibilities despite being similar to the all-too-familiar romantic resolve of some female-led stories written by men.

Wry and honest, the film relies on the audience’s reaction. Dry humor and long silences allow them to reflect, even relate to what is happening on screen. The only noise is often the presence of a character on screen. Otherwise, a jazz score interrupted by sitar carries viewers through times of uncertainty in Donya’s life. Although these aspects add a rather intimate and realistic tone to the film, they can create a monotonous watch. The film was mostly shot in Oakland and San Francisco—except for a few scenes, such as one filmed at Dino’s—but still holds a strong resemblance to the experience of living here.

This leads to the ambient question: what does Fremont mean for Fremont? In an increasingly digitized world, the presence of mundane connection seems trivial or unrelatable. Fremont’s subtlety makes the truth more palpable, providing a platform for a long-understated perspective on the immigrant experience and staying grounded in its emphasis on hope.

Rishaan Joshi (11) expounds, “I don’t think it’s gonna lead to an uptick in tourism because the movie’s centered more around San Francisco than it is Fremont. But [it] puts Fremont on the map, up there with San Jose or something like that,” Though other stories like The Kite Runner have acknowledged Fremont’s intertwined history with the lives of its Afghani immigrants, Jalali takes a unique approach to the setting.

“Not a lot of movies, especially set in San Francisco, have been able to capture what it’s about. It could take place in any other city and no one would notice or care, but Fremont itself is so uniquely Fremont in a way where you’re not going to get the same feeling from any other city,” Joshi explains, highlighting how the city itself is utilized as a character. We sit in uncomfortable silence for a few seconds and exchange pleasantries, questions still lingering between us. How many of us are the hands folded across a Dino’s table, wanting to speak? How many of us are waiting to see what fortune has in store?