Director Note
I grew up in Iran to the rhythm of the Ashura ceremonies. I even participated as a child, and I know deeply their codes, gestures, and beliefs. For a long time, I resisted the idea of making a film about these traditions, because they seemed to belong to a rigid religious mindset, disconnected from a society going through deep change. But I always knew that I had access to a world rarely seen from the inside. I had something unique to tell, something that shows how Ashura rituals keep shaping thinking and behavior, and also helps understand the ideological roots of the extremism that dominates the country.

The “Woman, Life, Freedom” uprising convinced me to return to this project. While Iranian society expresses its desire for freedom, these traditions continue to influence people’s minds. Rather than an ethnographic film, I want to offer an immersive journey that shows both the spiritual devotion of ordinary believers, and the way Ashura ceremonies are used for political purposes.

Making this film today is necessary, as Iran is going through a decisive period, and what happens there now has consequences far beyond its borders and concerns the whole world.
After years, I’ve seen a glimmer of hope for freedom in Iran, carried mainly by women’s emancipation. Yet during Ashura mourning days, traditions re-impose patriarchal rules: women are pushed back under the veil, not by police, but by social pressure justified as respect for customs.

The regime insists on the cultural heritage of Ashura and presents mass participation as collective support to strengthen its legitimacy. This creates a paradox in a society that claims to move forward, while these traditions slow progress and give a false image of modern Iran.

In this context, where tradition hides repression, the women’s movement revealed the counterpoint I had been searching for in this film. The women who burned their veils and refuse to wear them again, fully aware of the risks, are a source of inspiration. Their voices bring a new perspective to the film: Shole, a mother forbidden to mourn her executed daughter for political reasons, finds in the Ashura commemoration a space to express her personal loss.
Reza Serkanian

Producer Note
The collaboration between Overlap Films and Reza Serkanian began with the production of his first feature film, Ephemeral Weddings. The film was widely acclaimed, premiered at the Cannes Film Festival, won international awards, and was released in France in 2011, followed by a broadcast on Ciné+ (Canal+). Overlap Films also produced his most recent feature film, as well as his two latest documentaries, in partnership with France 3 TV and other local channels.

With this new documentary « Forbidden Mourning », once again Reza Serkanian introduces us to an unknown aspect of his homeland, offering an authentic perspective on the duality of the Iranian society, constantly torn between tradition and modernity.

The rare images he has acquired over the years will form an exceptional documentary. There is no film truly devoted to Ashura, as Iranian filmmakers tend to focus on more contemporary social issues, often considering these rituals outdated. Yet this project shows how Ashura commemorations still resonate in today’s Iran, where mourning for victims of the recent repression is forbidden. This reveals a key element in understanding Iran’s current situation.

Reza’s description of the scenes in this proposal shows his deep understanding of these rituals, allowing him to be in the right place at the right time. His careful attention to details draws us into the atmospheres and situations without explanatory voice-over, creating an authentic and immersive experience.

After reviewing the initial footage, we are enthusiastic about this project and aware of the crucial requirements to bring it to completion, drawing on our experience in film production in Iran. Sarina Films, a trusted Tehran-based partner since 2007, brings valuable expertise in independent Iranian cinema. Overlap Films will also closely oversee the filming and post-production in Europe, ensuring the artistic coherence of the film.

The Forbidden Mourning project has already received recognitions, having been shortlisted for a CNC commission as well as for a SCAM grant and IDFA. In addition, the BBC has expressed interest in the project, with a financial commitment for three broadcasts of the documentary

The film has been entirely self-funded so far because the producers believe in its artistic and narrative value. However, at this stage we need other partners to strengthen our investment capacity.

At this advanced stage, we are confident that the film is fully feasible and its budget manageable. Its true value lies in the context it reveals rather than in the technical and human resources it requires. Reza’s skills, along with his determination and enthusiasm, give us confidence that it will be completed under optimal conditions and fulfill its promise.
Overlap Films