The film Sonita is an important story of triumph over traditions that are oppressive to women, but it also raises difficult questions about the role of the filmmaker.
18 year-old Sonita Alizadeh is standing on stage in California. With deer-like eyes and blindingly white teeth, the rapper whispers the beginning of the hip-hop song Brides for Sale. The words are unfamiliar to the American audience, but is relayed with glowing intensity, and gets response. And Sonita’s story is truly like a fairy tale. In the three years during which Sonita was the main character of Iranian director Rokhsareh Ghaem Maghami’s documentary, she changes with the help of the director from a paperless Afghan refugee washing toilets in Iran, to a hip-hop phenomenon and activist in the USA.
Favorite fairy tale
Directors documenting social issues cannot avoid being confronted with their own role in the field. Should they act as a passive observer, hoping that someone in the audience will pick up the fight against injustice – or should they be an active driver for positive change? In De Andre (The Others, 2012), Norwegian director Margreth Olin chose to keep the role as an observer, and not help the young, expelled asylum seekers to any great extent, although she later noted that it was a difficult decision to make. In Helena Trestikova’s Marcela (2006), however, the director consciously crosses the line from observer to supporter in a decisive moment in Marcela’s life.