Sara Khaki and Mohammadreza Eynis exactly lensed ”Cut through stones“ is a skilled formed work of cinematic nonfiction that Opens with a literal bang, when we cut from a black screen to a middle -aged, headdress -clad woman who wrestles with a metal door that has become unobstructed; Eventually, she decides to be buzzed through the surrounding stone cover to make it fit in again. It is a suitable metaphor for the formidable Sara Shahverdi, a long -lasting divorce in a deeply religious region in the northwest Iran – A woman who has spent most of her life flowing gender norms and gives her finger to the Convention. The former midwife is also a vocal advocate for the strength of women and girls, which includes access to education and an end to child marriage. And of course she is also advocates for the right to ride a motorcycle, her greatest passion of all.
But perhaps most surprising is that so much of Shahverdi’s family and society admire her, enough that she runs to become the first elected council’s woman in her distant village may not be so far. Which is how, when they investigate female entrepreneurs in their home country, filmUS-based co-directors first became aware of the viling candidate and decided to follow the rebel’s unusual grassroots campaign.
Inevitably, the team of married filmmakers got more than they negotiated and ended up embedded with their heroine and her society off and on for seven years, starting with Shahverdi’s big clan. It is at her mother’s house that we were first introduced to her six sisters and three younger brothers (and their big families), whose later would continue to try to swindle the female siblings – but wise, not Shahverdi – from their long -death father’s legacy. It inevitably leads to a showdown that causes such a ruckus that a brother simply hands over the fraudulently signed document for Shahverdi to rip up. “Sara rebelded today and started a coup! “Exclaims a relieved sister joke.
And then it is further to the intimate gatherings of supportive female constituents, which are not a campaign top as much as they are a sad excuse for spreading the girl’s word. Shahverdi warns a fairly awestruck audience that she cannot increase the sclerotic system alone. “You all have to want to change.” To another room she orders, “Hand display, how many of you are really happy?” After a little nervous laugh, the arousing speech continues. “People say: ‘Sara, you are the exception. You are different from the rest of us. ‘I’m no different. If you fight for what you want, believe me, you are all like me. “She adds that when men ask why she is not feminine, she replies:” I’m comfortable as I am. ” The degraded ladies seem equally skeptical and amused.
As they should be. For what Shahverdi doesn’t really seem to understand is that they is not All just like her. By recovering the role of provider at 16 when her father died, she had always arisen to be the son that her father had not yet had. As the last in a long line of sisters, Shahverdi was not only taught riding on motorcycles and working construction – but, decisive, to ignore gender norms. Allowed to go where the boys went and to dress when she wanted, it’s no wonder that Shahverdi “felt free.” There were circumstances outside the nonconformist control that allowed her to be “comfortable” in her own skin. A believer can even say that it was her “desert” and Eyni and Khaki’s methodically controlled direction allow “cutting through stones” can maintain the momentum that some can interpret as predetermination.
Shrewdly, however, shahverdi also makes the rounds to designate bread and butter problems such as bringing fuel to the village, which is music to the voters’ ears. As a former midwife, she is also the only candidate who has literally delivered a generation of her constituency – 400 people, to be exact – which in turn collects the cause, which means that the unlikely land use is chosen with the most votes. Although of course she serves as she also serves those she did not bring in the world: the older men who have long kept power and are disgust to refrain from it. And complicates questions further, one of her younger brothers has also been chosen, and he is not about to let his big sister emasculate him publicly.
Still, Shahverdi sees its choice as a mandate and wastes no time to shake things up. She visits a classroom with young girls and makes them sign a promise to continue their education. When the male council members refuse to give her the village seals – the only way to stamp official documents – she simply takes it. And uses it quickly for the paperwork that will complete a man’s agreement to share the ownership of his house with his wife (now a prerequisite for gas to float to all residence). When an upset teacher urges to ask the newly elected official to intervene in the upcoming marriage with a 16-year-old girl (already in the process of getting a divorce) she not only meets her parents, but ends to convince them to let her let her take in her daughter.
But of course, bold moves rapid setbacks – against not just Shahverdi but those who want to follow in her shoes. Or as uncle to one of the motorcycle enthusiasts that Shahverdi teaches it, “Give Girls, just not paths.” It is one thing for a community to support a woman, another to enable a feminist revolution. So when Shahverdi’s health begins to decrease due to stress, she faces an existent threat, a challenge for her identity. It is a lot of drama for an individual to experience. Not to mention two filmmakers that fit on the big screen.
And yet Khaki and Eyni do. Through majestic overhead images of Shahverdi (and her young girl group) who rush through the mountain -shown landscape, switched with intimate close -up (Shahverdi’s expressive face speaks sometimes higher than her words), we are brought closer to a world both foreign and without doubt. The result of an East-Meets-West look (the rapid editing and Euro-Tinged points emphasizes the latter) that hits all the right (ie liberal) feminist beats. Which is actually smart if the goal is to join a difficulty halfway throughout the world. And besides, as Shahverdi himself ends after finally avoiding sweeping gestures, “a small step is enough.”
Rating: B.
“Cutting Through Rocks” premiered at 2025 Sundance Film festival. It is currently seeking US distribution.
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