“My sister Nasreen once filled our home with her beautiful voice,” Iranian filmmaker Leila Amini writes in a director’s statement. “However, she stopped singing when pressured to marry Mohammad.”
Women do not have the right to sing in public, as decreed by Iranian law since the revolution of 1979. According to the Islamic Penal Code, women singing in public is an “act against public modesty” and is punishable by imprisonment.
Yet, there is an underground scene of recordings and videos that thrives online —and it comes with a clear risk. In August 2024, popular artist Esmaeili, who became famous for her videos singing in public without a hijab, was arrested by security forces, and is currently being held in prison.
A Sisters’ Tale is documentary film, and, in essence, the gift Leila has given her sister: that of having a voice that will be heard beyond the boundaries of her home.
The Film
Amini spent seven years working on the documentary, which saw its International Premiere at the Toronto International Film Festival. She captures Nasreen’s journey in intimate scenes of her home life as she chafes under the oppressive restrictions placed on women under Iranian Islamic rule.
While Nasreen’s father encouraged his daughter’s gifts, her family also pressured her to agree to an arranged marriage with Mohammad, a man she never loved, and who saw her only in terms of her domestic roles. She gave up her music because of his disapproval, and got only responsibilities in return.
Leila’s statement continues, “Over the years, Nasreen dedicated herself to being an excellent wife and mother. Yet, Mohammad primarily saw his role as working outside the home, leaving Nasreen longing for the simple joys and affections of married life.
“When Hana was born, Nasreen confided in me, ‘I’m growing old, and I’m terrified. My only achievement in life is being the mother of two kids.’ I sensed a significant change in her. She decided to pursue her lifelong passion for singing, even though singing in public is forbidden for women in Iran.”
The warm normalcy of Nasreen’s life with her children and mostly absent husband contrasts with the ever present spectre of danger. The underground scene is active in spite of it. In the film, groups of women gather together to sing and practice privately.
“Nothing makes me happy,” Nasreen says flatly in the film.
Her torment at losing her outlet for creatively is an examination of the toll of thwarted passions and ambitions, and of living under oppression overall. In contemplating divorce, Nasreen has to take into consideration the fact that, with her father passed away, it leaves only her sister and mother, three women to make their way alone in the strict patriarchal society.
Her songs talk about love and freedom, recorded on her phone during moments stolen away from her chores at home. As an artist, most of the music industry won’t work with women for obvious reasons. It means finding collaborators, even recording engineers, furtively.
When a documentary is filmed over a seven year period, there must have been a question in filmmaker Leila’s mind as to when to stop. Without giving too much away, it’s a very gradual upwards arc, with an ending that offers hope.
The filmmaker’s intimate portrait sheds a light on the plight of women artists living in oppressive regimes.
Where to see it…
The film, a Switzerland/Iran/France co-production, was produced by Iranian director-producer Afsaneh Salari at Docmaniacs, and Vadim Jendreyko at Mira Film. It premiered at the Locarno Film Festival in Switzerland.
- There are still two screenings left at the Toronto Film Festival on September 11 and 12. Find more details [HERE].
If you miss it at TIFF, you will likely get a chance to see it on a screen near you soon. The documentary was picked up prior to its TIFF screening by Rise and Shine World Sales in a global sales deal.
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