09/12/2024 - The political eclipses the personal in Roya Sadat’s film about two friends living in Afghanistan on the eve of the 1978 Soviet invasion

Mozhdah Jamalzadah (left) and Nelofer Pazira in Sima's Song

Afghan filmmaker Roya Sadat examines the political upheaval leading up to the 1978 Soviet invasion of Kabul through the lens of two friends who find themselves on opposite sides of the conflict. Sima’s Song [+see also:
trailer
film profile], which had its world premiere at the Tokyo International Film Festival and is now celebrating its MENA premiere at the fourth Red Sea Film Festival, is an ambitious effort seeking to highlight the role of women in the political landscape and trace the roots of Afghanistan's current struggles.

Sadat frames the film with a powerful contemporary protest scene: in 2023 Kabul, women march in the streets demanding “bread, work, freedom”. This framing anchors the narrative in Afghanistan’s present-day reality, linking the historical events depicted in the film to the ongoing fight for women’s rights under Taliban rule.

The story focuses on Suraya (Mozhdah Jamalzadah), who, decades later, will take part in the protests. In 1978, she is a hopeful, upper-middle-class supporter of communist ideals. Her best friend is Sima (Nelofer Pazira), a talented singer from a humble, traditional Muslim background. Sima’s moving performance of a traditional Afghan song recurs throughout the film, symbolising cultural identity amidst political turmoil. However, all too often, the movie shifts its attention to the broader mechanisms of power, rather than aiming for a more layered and nuanced portrait of the two female protagonists. The political backdrop – centring on the tensions between the Khalq and Parcham factions – is at times confusing, even with the filmmakers’ efforts to clarify terms and names in the subtitles. This focus on political intricacies detracts from the human drama, making the narrative difficult to follow for viewers seeking a more character-driven experience. Despite these challenges, Sima’s Song remains a commendable attempt to reinsert women into the historical narrative of Afghanistan. Sadat’s decision to foreground women’s perspectives in a male-dominated historical context is both courageous and necessary. At a time when women's voices continue to be stifled, this film is a reminder of the importance of telling these stories. While Sima’s Song may not fully satisfy viewers who prioritise character depth over historical exposition, its message still resonates deeply.

Sima’s Song is a joint effort involving Spain, the Netherlands, France, Taiwan, Greece and Afghanistan. The producers are Alba Sotorra and BALDR Films, while Urban Factory, Volos Films, Asterisk* Films, Homemade Films and Roya Film House served as co-producers. Germany’s Pluto Film handles the international sales.