Iranian Director Saeed Roustayee on Making ‘Woman and Child’ With a Government Permit and Hijabs: I Wouldn’t ‘Have Been Able to Make a Film of This Scale Underground’

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The Iranian filmmaker Saeed Roustayee is once again gracing the Cannes Film Festival with his latest production titled “Woman and Child.” This thought-provoking drama focuses on empowering women, as it delves into the life of a 40-year-old widowed nurse named Mahnaz. Struggling to manage her rebellious son amidst other challenges in a rigidly patriarchal society, she strives for personal and societal change within the oppressive context that surrounds her.

Following the impact of “Leila’s Brothers,” which premiered at Cannes in 2022 and resulted in its director facing imprisonment for unauthorized screenings, I’m eagerly anticipating Roustayee’s latest creation. Remarkably, despite sharing some thematic similarities, Roustayee himself avoided jail time in this instance.

Before I even got to watch “Woman and Child,” it was already drawing controversy from certain circles within the Iranian film industry. They accused me, without seeing the movie, of selling out to the government because I had their permission to produce it. The added point of contention being that all women in the film wear hijabs, which they argue is unrealistic given the ongoing nationwide rebellion against the mandatory hijab rule.

As a dedicated cinephile, I’ve been standing by Roustayee, who’s faced harsh accusations. My fellow Iranian filmmaker, Mohammad Rasoulof, has bravely taken up this cause. In May 2024, he braved the journey from Iran to Europe, escaping an imposed jail sentence by our country’s authorities for his poignant work, “The Seed of the Sacred Fig.” This powerful film premiered at Cannes last year, with Rasoulof himself present.

Here, Roustayee discusses with EbMaster the intricacies of filmmaking amidst the turmoil in his homeland, and explains why he isn’t compromising his principles.

Following the release of “Leila’s Brothers,” you’ve produced another movie focusing on women’s empowerment. Could we infer that this topic holds a significant importance to you, particularly in Iran?

In fact, my latest three films have a recurring theme of strong female leads. As you observe, these characters progressively gain greater autonomy over the course of each story. For instance, in “Leila’s Brothers,” Leila was self-reliant but relied on her brothers for assistance. However, in this current film, the main character is completely free from any constraints that have been imposed upon her. She takes action independently, makes decisions autonomously, chooses when to forgive, enacts her revenge alone, requires no help from anyone, and reaches redemption by herself.

Is the character portrayed by Parinaz Izadyar, named Mahnaz, who faces difficulties as a 40-something single mother, representative of the experiences many Iranian women face today in your opinion?

Absolutely, there are numerous women in Iran today who resemble Mahnaz in various ways. In my personal circle alone, I can name at least 10 such women. The character of Mahnaz is a compilation inspired by these remarkable individuals. Today’s Iranian society is filled with independent, often single, mothers who courageously raise and support their children on their own. It’s also worth mentioning that many women in Iran play significant roles in supporting their husbands financially as well. This independence extends beyond spiritual and practical aspects to economic self-reliance. In my creative endeavors, such as my job or filmmaking, I draw inspiration from society to create my work. After all, I strive to make films that resonate with the realities of our world, adding a touch of creativity to transform these experiences into compelling narratives. My work is deeply rooted in the societal context, and I find it difficult to imagine creating something without firsthand knowledge or observation.

The movie received criticism prior to its release for featuring veiled women. I’ve touched on this point before, but let’s delve deeper into the decision behind it.

Following the release of “Leila’s Brothers”, the Women, Life, Freedom uprising erupted in Iran, an initiative primarily driven by women that eventually resonated throughout the entire society. This movement, which I have openly endorsed, can be seen not only on my Instagram but also reflected in my daily interactions. Notably, this movement sparked a significant shift in societal and cinematic sensitivities regarding the compulsory headscarf in films. The topic was already a sensitive one, but it gained even more intensity as a result of this uprising.

Since the release of “Leila’s Brothers”, I’ve been under close scrutiny. You might be aware that I’ve faced legal proceedings. The movie has been implicated in being one of the triggers for the movement. As a result, I received a suspended six-month prison sentence and a five-year work ban. This means that any minor mistake on my part would land me in prison immediately, and I wouldn’t be able to make another film for the next five years.

Even though I personally disapprove of depicting women wearing headscarves in private spaces within Iran, I find that this issue is currently receiving an excessive amount of attention. Under the heavy surveillance, it seemed like the most effective way to narrate my story. This, naturally, affects every director working in Iranian cinema, as we are all under close scrutiny. To illustrate, during the filming of “Woman and Child,” production was halted multiple times by the regime and I was summoned for questioning.

Discuss your experience collaborating with Izadyar, the lead actress who delivers an exceptional, powerful performance in our movie.

Working with Parinaz was truly a fantastic journey. I needed an actress who could commit to intensive, continuous rehearsals for at least six months, and who would also be generous with her time. Remarkably, Parinaz dedicated not just ten months but almost an entire year, setting aside all other work, solely focusing on rehearsing and then bringing Mahnaz’s character to life.

What was the rehearsal process like?

The experience was incredibly demanding. Every single day, we worked for at least eight hours in my studio for the production, sometimes extending to 10 or even 16 hours. I desired an actress who could truly embody Mahnaz’s character, and by the end, Perinaz, our actress, had become indistinguishable from her role. You could see it on set. Yes, there was the usual preparation involved like setting up scenes and rehearsing, but she had already deeply absorbed the character. The process was so challenging for her that her hair started turning gray during filming. In fact, by the end of shooting, she had so much natural silver hair that we needed to dye it black again for continuity purposes.

From what I gather, this movie was produced under a permit, which implies that the script was reviewed and granted approval following your conviction and significant backlash from your earlier production. Could you share some insights into how you navigated the approval process and eventually brought this project to life?

Concerning the decision to obtain a movie permit initially, it wasn’t mine to make. It’s a requirement for producing a film on this scale, and I want to clarify that if our circumstances were different in Iran, say, without the mandatory headscarf or other restrictions, I would have made the same film. Certain aspects might have varied, perhaps what transpires privately, but definitely, the women wouldn’t be wearing headscarves. However, the narrative, the character development, and all that would have remained unchanged.

To produce a movie primarily based in a hospital, featuring many outdoor scenes, and including shots from a high school and other locations, it was absolutely essential to have permits. Yet, securing these permits proved challenging due to my questionable standing with the government officials. They harbor strong negative feelings towards me. Nevertheless, I enjoy widespread popularity among the general public.

One more reason I prioritized creating a film with permits is that it’s the only means for it to be legally screened in Iranian movie theaters. Screening my films for Iranian audiences within Iranian cinemas is vital, particularly given the decline in quality of what’s been shown recently. Comedies are all that’s left, and I’d prefer not to discuss them. However, in terms of social cinema, it has become almost non-existent.

Furthermore, many members of my team are accustomed to working on films approved by permits. Consequently, if they were to participate in a film without such approval, they too could face the same work restrictions as I have experienced, albeit with my ban currently suspended. This would create numerous complications.

As a movie critic, I must admit my admiration for the courageous filmmakers in Iran who create captivating works under challenging circumstances without permits. The resilience displayed by these artists, from directors to actors and crews, is truly inspiring. However, given the sheer scale of some films, I find it hard to imagine how such productions could be executed clandestinely. The logistics seem almost impossible.

Given that “Woman and Child” has been finished, would you say it has a promising chance of being screened in Iranian movie theaters?

The outcome hinges on our actions moving forward. The Iranian authorities need to review the finished movie, which is scheduled for screening at Cannes. However, my statements and interviews also play a role in this. If I make overtly critical comments, the film may not receive approval.

This interview has been edited and condensed for clarity.

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2025-05-22 16:47