February 10, 2025

FILMHOUNDS Magazine

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A Powerful, Inspirational Gem – Shayda (Film Review)

Noora Niasari drew on her own childhood when writing her debut feature, Shayda, and her understated film has that quality that autobiographical films need in order to shine: specificity. Niasari’s highly detailed account of her and her mother’s experiences in Iran and Australia utilises Nowruz (Persian New Year) to great effect, as a basis for change and fresh starts. This universal story, about an abusive marriage and a difficult path to eventual freedom, is a necessary one to tell, and Niasari’s own mother is an inspiration to women around the world.

We first meet Shayda and her daughter Mona as they move into a women’s shelter in Australia. Shayda is in the process of divorcing her husband, and via intense translated accounts to home manager Joyce (Leah Purcell), we learn of her Hossein’s violent and sexual abuse of Shayda. Zar Amir Ebrahimi, who won the Best Actress Award at Cannes 2022 for her role in Holy Spider, is a force of nature in Shayda. She is, all at once, a stoic, strong mother to Mona, an incensed woman at how she has been mistreated, and a deeply scarred abuse survivor still grappling with violent memories. In one scene, Shayda may be describing the worst abuse she suffered at the hands of Hossein; in the next, she will be playing lightly with Mona.

In general, this balancing of tones and emotions is expertly done; Niasari seamlessly moves to highly distressing scenes to joyous ones, utilising different colours, camerawork, and lighting to signify the undulating emotions. Her screenplay similarly showcases a keen eye for constructing dense scenarios of varying feelings. In Shayda, Niasari’s conduit of Mona represents peace, innocence, and hope; scenes between Shayda and Mona are lighter and free from abusive constraints. Selina Zahednia as the young child is terrific, showcasing a childlike innocence but also deep understanding of the events engulfing her.

Niasari’s screenplay isn’t perfect: some scenes are unnecessary and lack focus. A little bit of trimming would help the drama stay laser-focussed; instead, it has moments that feel seismic and memorable, but others that lack in momentum and drift with little dramatic energy. Nevertheless, Shayda is generally a stellar debut, with its patient and evocative nature the perfect basis for a story of this magnitude and truth. The use of Nowruz as further symbolism is inspired, culminating in one severely dramatic and violent climatic scene at a large party.

Niasari may have based Shayda on her own experiences, but she is also keen to widen the spotlight, highlighting not only her mother’s suffering but countless other women’s as well. Supporting characters such as Lara (Eve Moray) or Vi (Jillian Nguyen) add layers to the new world that Shayda finds herself in, whilst also representing the support systems that are so important for women who have gone through similar experiences. Purcell as Joyce is also a highlight, and as the horrific husband Hossein, Osamah Sami is terrifying, given only as much screentime as necessary by Niasari. 

He is responsible for the film’s most dramatic moments, and whilst these climactic and loud parts are necessary, Shayda shines brightest when Niasari draws back and lets the slow subtlety tell the story. The flicker of a smile from Amir Ebrahimi or two women tightly gripping each other’s hands in support represent the undercurrent of female empowerment and solidarity that runs so strongly through Shayda.

Shayda releases in UK cinemas on 19th July 2024