Directed by Naghmeh Pour in 2023, Iran-e Man was created as part of the Women, Life, Freedom movement in collaboration with the Iranian-Italian brand Pairi Daeza. Conceived as a visual poem, the film celebrates Iran’s cultural history, offering hope within the movement and countering the violence that so often defines media coverage. Three years on, Naghmeh reflects on the project and its message—both as resonant today as they were then.
How did this project come to you?
During the Women, Life, Freedom uprising, we felt an urge to bring attention to the movement. Brainstorming how to achieve that, my first directing project took shape.
We reached out to Pairi Daeza, who had collaborated with Iranian artists, each designing a scarf with illustrations tied to the movement. The scarves and their motifs were so powerful, and the brand is all about preserving Iranian heritage through craft and design. After a meeting with Pairi Daeza, it felt like a good match. The sisters behind the brand had such revolutionary energy, and it totally consumed us, so we decided to make a branded piece involving the scarves to raise money for the Abdul Rahman Burumand organisation.
What were some of the conversations you had around the making of the film?
One of the things we discussed a lot was whether to portray our anger, showing everything that hurts, or to show the beauty of our culture.
I had written a loose draft that had more anger and sadness. It was therapeutic, actually. However, the project kept moving towards all the beauty there is in Iranian culture. We decided that this was what we needed to focus on. We know about the atrocities. We wanted to give people a sense of hope. A sense of why the fight for freedom was important.
The women and men on the streets were risking their lives because they had hope. We had to support them through this and not by adding another sad story. All we had in that situation was hope.
From the process, to the message and the reception, how do you reflect on the film now?
I think this project needed to happen the way it did, I wouldn't change a thing. I definitely learned a lot. It was a spiritual journey that took a path of its own.
The reception was beyond imagination — my biggest wish was that Iranians would connect with the film.
But what I am in awe of is how this film not only resonates with Iranians, but all sorts of people around the world. It’s really a surprise to me because we didn’t think about a certain target group at the time.
We were too focused on making noise in any shape or form. I wanted to touch something in every human watching this film. That was the main goal.
During the current situation, people have once again found their way to Iran-e Man. I hope it brings comfort to those watching it.
Reflecting on your work, what are your parting thoughts?
I wish for more people to use any given platform to speak up about injustice. In all sorts of situations. About anything that matters to you. Have those hard conversations with friends and family.
And for those who are not in the know about what’s happening in Iran, Palestine, Syria, Sudan, etc. Ask, ask, ask, and listen. Then do something about it. Being indifferent and passive is a waste of life on this earth. It’s our responsibility as global citizens not to be indifferent to injustice. Raise your voice.
Pairi Daeza
Iran-e Man