Post 5 - Women Without Men

Women without Men, is an adaptation of a novel by Iranian wirter Sharnish Pansipur, directed by Sherin Nershat. The film focusing on the lives of four women in the midst of the turbulent revolution in 1950’s Iran, serves as not only a vehicle for feminist narrative but is an artwork in itself, through its beautifully shot and pieced scenes.

The film begins with the narration of Munes, an intelligent woman whose political ambitions during the revolution are thwarted by her tyrannical brother’s harassment for her to get married. Her story intertwines, with close friend Fazeah who at first seems pious and subordinate in her beliefs, unlike Munes. The two friends seem to contrast each other in their behaviors, as in one moment when the two gossip about Munes’ brother’s new fiancé, Munes declares the absurdity of virginity as attestation of purity, saying “I don’t know if I’m a virgin,” noting that the hymen can be torn by a number of things. Nershat, want’s us to know of the liberal thought of women between each other even during those difficult times when they may be suppressed by a patriarchal society. The scene shortly after, where innocent Fazeah is raped by two men, corroborates the absurdity as her virginity is taken, and her purity despite her virtuousness no longer there.

Munes takes Fazeah to a friend’s house outside Tehran, a beautiful orchard owned by Ms. Fakhri, another character whose storyline we get to know intimately throughout the film. Ms. Fakhri acts as a mother to Fazaeh, and Nariz, a sex worker from a brothel who escaped her fate and was found in the banks near the orchard. The three women enjoy the simplicity of life in the house; without men, they are free to communicate freely and don’t have to be terrified in the day of a man’s hand before them.

The story continues to tell the tale of the four women’s individual fates, but also their intersectionaity and the power that women have when they embrace and help each other. The movie most definitely passes the Bechdel Test, as the communication between women is never lacking nor is it exclusively about men.

Nershat’s approach to the film is unconventional as a large part of the essence in the film are about subtle shots, showing the beauty, the terror, the trauma and danger of a woman’s life in 1950’s Tehran. The storylines that begin individually and later intersect, speak to the journey all women must face if they are to take on the hardships of life and battle them – they must do it together, and be there for each other.

This work is extremely well acclaimed especially in the feminist community, with the New York Times calling it “visually transfixing.” However, the film is also a controversial piece of work with Nershat exiled from ever visiting Iran after its release. It is a definite piece of art and a necessary watch for any feminist.