> Interviews

Film and the Taliban

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I’d like to begin by asking how you made the film. Did you shoot it in Kabul?

Yes, in Kabul.

How many cameras did you use?

Initially I used a Blackmagic camera. But since it got harder to move around, I shot with my smartphone. If you walk with a camera, the Taliban will immediately know that you are filming, and you’ll be in big trouble. So, when I filmed outside, I used my hidden smartphone. I shot demonstrations and other outdoor scenes with my mobile.

How did you meet Rashmin?

I took part in demonstrations in the beginning. Since I was already filming, I came to know several people. At that time I never imagined that Rashmin could play the lead. I interviewed some fourteen women. When I started to edit the footage, I realized that I had filmed Rashmin a lot. This way she gradually became the main character. But she was unwilling at first as she had many problems, including her father’s opposition. Over time, however, trust was built between us, and she accepted me. When I took my daughter to a shoot, for example, her mother took care of her, treating us as members of their family. Other women gradually disappeared, refusing to be filmed.

Rashmin is always well-dressed with perfect make-up, graceful in her speech, and highly educated; besides she has both a smartphone and a laptop. She impressed me as someone from a very good family. Tell me about her family background.

Those who take to the streets are all from wealthy families. Why do I focus on them? Because what I wanted to show was not that the Taliban came and the poor became poorer and had fewer opportunities for education, but that even people of the educated class were suffering because of the Taliban.

Rashmin’s family actually lived in a castle with vast grounds, complete with a security guard. But they left the castle and stayed in a place where their guard might live. They are much wealthier than they appear in the film. Rashmin’s parents are versed in politics and well-educated. I deliberately chose this type of woman.

At the beginning of the film, Rashmin’s mother says that she is afraid of being near a window. It’s because their guard was killed by the Taliban. Since then she has been haunted by fear.

It seems to me that your film has no exterior. It doesn’t show much of the outside, there are few men, and only women are stuck in the house; moreover, they are forced into a room in the house. Did you stage this or does it reflect the social situation in Afghanistan?

Let me talk about men first. I excluded men on purpose because I wanted to show that men were not around to protect women, who were trying hard. The film shows a bit of Rashmin’s father and brother. But they were against Rashmin and her friends who rose up. I wanted to show that they opposed women. They did not lend any support. All men were like that. I’m glad that you have noticed it.

I also wanted to show that the house was like prison. Although I had lots of outdoor footage of demonstrations, I could hardly use it. For there isn’t much women can do in the house. They just stay there, which is what I really wanted to show. If I conveyed it, I have succeeded with my film.

Where did you study filmmaking?

I wrote my first script at the age of eight. When I was sixteen, I wrote and directed a short film. I went to university in Kabul, which was the only city where you could study filmmaking. In 2014, I made a short film that won many awards. I made my first feature film in 2024, meaning it took me ten years to direct this. When I was sixteen, I told my father that I wanted to go to film school. He replied, “If you become a filmmaker, I’ll kill you.” He knows nothing about cinema or filming and is very old-fashioned. He firmly believes that working in the film industry is like becoming a prostitute. So, I make films, keeping it a secret from my father.

I was already married when I made this film. My husband said to me, “Although your father didn’t kill you, the Taliban might.” And I said to him, Neither my father nor the Taliban have been able to kill me, and I will keep making films.”

When the Taliban came, women in all fields, including medicine and journalism, were forced to leave their workplaces. Although I had been threatened by my father with death, I became a filmmaker. Like myself, many women achieved their status after going through a lot of hardship. But the Taliban destroyed everything. That’s why I had to speak up.

The film shows Taliban TV near the end, where Rashmin and other women appear, apparently forced to give false testimony. What is this?

I downloaded it on YouTube. Although Rashmin usually speaks in a strong, clear, and loud voice, on Taliban TV she speaks weakly and haltingly. She cannot act like that as she is not a professional actor. If film professionals see it, they will soon realize that it is genuine footage, not a reenactment.

Taliban TV looks like a reverse shot of your film.

My camera captures real women, whereas Taliban TV shows weak and feeble women.

Why did the Taliban release Rashmin?

In addition to the false statement, she signed a pledge of non-participation in demonstrations and paid a large bail amount.

Did she pay bail and leave the country legally?

She fled to Iran and then went to France. Though I filmed her in Iran as well, I did not use the footage. She was in a prison-like situation for a long time. If I show her freedom in Iran, my film will become meaningless. But I used her protest in Paris, which has continuity.

How long did it take to complete the film?

It took about four years, from 2021 through 2024. The Taliban took control of Afghanistan on May 15, 2021 and two days later on May 17, 2021, one of the first demonstrations was organized and I took part in it.

When did you leave Afghanistan?

On September 26, 2024. I spent 771 days under the Taliban regime. Please watch my next film which is about those days. It’s called 771. If I talk more about it, I won’t get invited to Yamagata (laughs).

That means, following Rashmin’s film, we can see a film about yourself?

Each and every one of us is the protagonist.

I’m going to ask the final question in Farsi: Khanom-e Entezar, shoma dar entezar-e che hastid? [Ms. Entezar, what do you expect?]

Oscars! (laughs). I’m just kidding. Honestly, I expect peace in Afghanistan.

Compiled and translated by Yamamoto Kumiko

Photography: Oshita Yumi / Editorial Supervisor: Sato Hiroaki / 2025-10-12