“A War on Women”, interview with director Raha Shirazi

Presented at the Bari International Film & TV Festival, “A War on Women” by Raha Shirazi reframes the narrative of Iran’s feminist uprising. Rather than depicting it as a sudden revolt, the documentary reveals a resistance shaped across more than four decades of struggle, repression and everyday acts of defiance.

Spanning the 1960s to the present, the film reconstructs a layered history that remains largely unknown outside Iran. Through archival material, clandestine footage and intimate testimonies, Shirazi connects past and present, showing how today’s protests are rooted in a long continuum of activism.

“The whole world has no idea about this movement and how long it has been in the making,” Raha Shirazi explains. The turning point that led her to the project was the death of Mahsa Jina Amini in 2022:“I was stuck to my phone, watching everything unfold. And I realized how little context there was globally”, said Shirazi.

Generations in dialogue

At the core of “A War on Women” lies an intergenerational conversation. The film brings together women from different eras, each carrying distinct experiences of resistance, exile and survival.

What emerges, according to Raha Shirazi, is a striking continuity: “This new generation knows the story of their ancestors. They know where we came from, what we had, what we lost, and what they’re fighting for.”

The director highlights a shift in approach between generations. Earlier activists often believed in gradual reform within the system. Today’s youth, she observes, embody a different energy: “They are incredibly brave. There is a force in them that is undeniable.”

The personal as political

Balancing the intimate and the political is central to the film’s structure. Raha Shirazi rejects the idea of separating the two dimensions: “The political is very personal,” she says. “How we dress, how we speak, even what we eat, everything is political.”

This perspective shapes her filmmaking approach. Rather than constructing a purely analytical narrative, Shirazi foregrounds individual stories, allowing the broader political context to emerge organically. Her role during interviews was deliberately restrained: “I was there to listen. It wasn’t about me. I wanted them to take over the conversation and tell their stories in their own way.”

Trust, risk and unseen images

The documentary includes rare and often clandestine footage shot in Iran, collected through a network of collaborators who remain anonymous for safety reasons. This aspect posed both ethical and practical challenges.

“Of course, they are the ones taking the risk,” Raha Shirazi notes. “I tried to make sure everyone understood what they were doing and felt comfortable.” Despite the danger, many contributors chose to participate, driven by a sense of urgency. “For many, the future already feels uncertain. So they choose to risk something to change it.”

Images play a crucial role in the film’s language. In an era saturated with visual content, Shirazi reflects on their shifting impact. “We are becoming desensitised to images of war,” she says. “So it was important to carefully choose what to show and how to integrate it into the narrative.”

Reclaiming identity and confronting geopolitics

Working on the film also reshaped Raha Shirazi’s relationship with her own identity. The research process brought her closer to Iranian culture, language and internal political complexities. “It helped me understand different perspectives, both inside and outside the country,” she explains.

At a time when Iran is often reduced to geopolitical headlines, “A War on Women” insists on a human dimension, particularly a female one. Shirazi speaks with clarity about this tension. “We are a country everyone wants to have a say in, but at the same time, no one truly helps us achieve freedom.” Yet the film does not surrender to pessimism. Its emotional core is rooted in resilience.

A future shaped by courage

For Raha Shirazi, hope lies in the younger generation. Not only in women, but also in men who increasingly recognise the centrality of women’s rights: “They have understood that until women are free, they will not be free,” she says. “They are willing to stand, to fight, even to die for that.”

Plot