Shayda

Shayda is an astonishing debut film. It lays bare the complex and at first subtle ways the husband tries to use and manipulate his 'beloved' wife and daughter, and the enormous resilience, strength, courage, adaptability, and intelligence the women, including the wife, the 6-year-old daughter, the shelter owner and the other women and children living there, require and display as they fight hard to preserve their joy and inner peace and retake control over their lives. The best possible performances, directing, cinematography, and writing. Incredibly inspiring and empowering despite the painful subject matter.

Best performance by Selina Zahednia child actor. Premiered at Sundance, Shayda centers on an Iranian woman trying to preserve normalcy during Nowruz for her 6 year old daughter in Australia, while trying to escape the manipulations of her separated, abusive husband. Shayda immediately feels personal, and it is director/writer Noora Niasari telling the story of her own mother. While the movie centers on the mother, the daughter's own eyes and experience are brought to life. A brief sequence filmed from the child's perspective is particularly chilling. While this story is intimate and personal as a moment, it also feels timely as Iranian women today courageously protest and risk their lives for rights .

This powerful and affecting drama tells the story of Shayda, who is a young Iranian mother who has immigrated to Australia. She seeks refuge with her daughter at an Australian women's shelter during the two weeks of the Iranian New Year (Nowruz) after experiencing abuse from her husband. Shayda wants to build a new life for herself and her daughter. But when a judge rules that her husband can have unsupervised access to see Mona, things become more complicated.

The acting in Shayda is excellent, especially Zar Amir Ebrahimi's performance as Shayda. The characters are well-developed and three-dimensional. The slow pacing allows time for this to happen. Shayda and Mona's characters are very compelling. The dialogue is well-written and feels authentic, particularly in the scenes when Shayda tells her story to a lawyer. It's a potent scene.

Nora Niasari's direction is strong, and the movie's verité-style intensity gives it the feel of a thriller (in terms of predictability rather than action), which adds to the tension and emotional impact of the story. The cinematography by Sherwin Akbarzadeh feels immersive, and the use of shadows and lighting adds to the film's atmosphere. The movie is also shown on screen in a tucked-in aspect ratio where the image is presented with black bars on all four sides of the screen, creating a smaller, more condensed image. This makes our experience of the story more intense and immersive because it concentrates the drama and emotion of the story. I mentioned the pacing of the movie, allowing for the development of rich three-dimensional characters. There are times, however, when the film feels a bit slow.

Shayda made me feel a range of emotions: sadness and anger at the abuse Shayda and her daughter experienced to hope and admiration for the resilience and strength that enabled them to survive and rise above their circumstances.

Shayda is not just a drama for entertainment. It tells about the struggles of Iranian women everywhere and the strength of the love of a mother for her children. The relationship between Shayda and Mona was portrayed with such authenticity and heart, and the tenderness with which Shayda nurtures and guides Mona through the complex situation they are experiencing was profoundly moving to me.

Shayada is a powerful movie, and if you are interested in stories about women's struggles and resilience, then make sure you check it out. A word of caution: the movie deals with heavy themes and may not be suitable for all audiences. Highly recommended.

Directed by Noora Niasari, Shayda narrates the experience of an Iranian immigrant (played well by Zar Amir Ebrahimi) in danger of losing her daughter to a possessive and violent husband (Osamah Sami). Supported by friends in a women's shelter run by the sympathetic Joyce (Leah Purcell), Shayda must carve out a new life for herself and her daughter Mona (Selina) free of the constraints of past. The story takes place over the celebration of the Iranian New Year (Nowruz).

The film was submitted to the Academy as Australia's entry for best International Film. It wasn't selected but it was nominated for nine AACTA awards and won for Best Casting. It's an impressive debut feature film from Niasari who won the Best Direction award from the Australian Directors Guild in 2023. Films like this have an important role to play in helping us understand the experience of migrants as well as breaking down prejudice. Broken relationships and their outcomes are common human experiences knowing no national, racial, political or religious boundaries.

Shayda and her six-year-old daughter, Mona, attempt to find their freedom and footing in the world after fleeing from Iran to Australia to escape Hossein, an abusive husband and father. Shayda and Mona live in a secret shelter for women as the divorce and visitation rights are worked out. Hossein doesn't give up easily though. He uses all the considerable powers at his disposal to lure the mother and daughter back. Tricks, false promises of change, violence, and threats are all on the table as Hossein journeys from Iran to bring the women back. He will lure Mona alone if needed.

Writer and director Noora Niasari, present at this Canadian premiere screening at the Toronto International Film Festival, draws upon her own childhood experiences to craft this heart-rending and captivating thriller. Zar Amir Ebrahimi (Shayda) won the Best Actress award at Cannes for last year's Holy Spider. As Shayda she plays a similar role as in Holy Spider; a lone woman fighting the might of an authoritarian and male-dominated society (if she tackles Australia, next she can battle Iran, LOL)! Again, Zar Amir Ebrahimi is spectacular.

I wish that Niasari was better able, through imagery and dialogue, to emphasize her themes of rebirth, the Persian new year, and the fires of joy and love that burn away pain, but the results are good enough. May we always recognize such scumbags as Hossein from the beginning so that we can avoid them before they sink their claws into us. The film helps us recognize them with their hollow promises and their disguised yet unempathetic nature.