No Land's Song

In the wake of the revolution of 1979, the new regime forbids women in Iran to sing publicly as soloists in front of men.[1][2][upper-alpha 1]

In defiance of censorship and cultural, religious and legal taboos, a young composer named Sara Najafi decides to organize a concert for female solo singers.[1][2][3]

Najafi starts to enlist others. She recruits two other Iranian singers – Parvin Namazi and Sayeh Sodeyfi – to join her. In turn, Namazi and Sodeyfi invite three female singers from Paris: Elise Caron, Jeanne Cherhal and Emel Mathlouthi. Their stated intention is to perform together as solo artists in a show to be held in Tehran. As the Iranian film festival states, this musical collaboration is said to reopen a "musical bridge" uniting France and Iran.[1][2]

The documentary poses the question whether women will ever be successful in singing free, together, side by side, in front of a mixed audience, without restrictions or interference. Success in their immediate quest makes for a compelling drama. On the other hand, the long-term effect is more questionable.[1][2][4][5]

It is said that the movie is an antidote to the misogynist excesses of the government. "The female voice is fading away", Najafi claims.[4]

No Land's Song has received widespread praise. Some of the reviews:

• The Guardian: An "audacious" film and enterprise.[6] Unfortunately, the respite from official oppression proved temporary — hard liners banned performances by females even as backing singers.[6]
• The Hollywood Reporter: Much more than a 'let's do a show' movie, the reviewer considers it to be enthralling, riveting and empowering, even though its end is not suspenseful. The proffered religious justification for the ban is that female solo singing may be sexually arousing to male audience members, and is akin to putting too many ingredients into the soup. “Ayat Najafi's documentary is about the fight for a woman's right to sing in Iran.” [7]
• Middle East Monitor: Facing endless barriers, the group struggles to its defiant and triumphant conclusion. "Inspired by the memories of ballsy female Iranian singer Qamar-ol-Moluk Vaziri who, in 1924, became the first female to perform without a hijab in front of men, they remain optimistic. ... In the concert she dedicates her solo to the Iranian youth from the Tunisian youth. Instead of a celebration of the female voice, it seems to have become a much more obvious act of rebellion" which conveys their emotion.[3]
• The New York Times: Clearly showing courage in film making and thus deserving the Human Rights Watch International Nestor Almendros award, it is "candid in its views about the Iranian government’s attitudes toward women, it sears its protagonist’s story into the hearts of viewers with a narrative of artistic resistance, humor, friendship, and, ultimately, triumph in a country notorious for denying women’s rights."[5]
• Variety: The film is a "gripping documentary" and "a finely tooled, multi-layered [film]." This "gripping chronicle of her efforts covers a nearly three-year period and is as full of ups and downs as a roller coaster, and bursting with beautiful music. The inspiring, enlightening, audience-friendly pic" should receive commercial as well as cultural success.[8]

The film has been widely aired at more than a dozen film festivals, and has been well-received, and was nominated for and garnered many awards.

• Official website (US)
• No Land's Song at IMDb
• No Land's Song excerpt via YouTube