As GEMFest celebrates its milestone 20th anniversary, the festival is making a powerful statement by opening with One Must Wash Eyes, the feature debut from Iranian-Canadian filmmaker Sepideh Yadegar. Inspired by the Woman, Life, Freedom movement, the film offers a deeply personal and politically urgent narrative about the cost of protest and the resilience of Iranian women.
We sat down with Sepideh Yadegar and GEMS Board President Ghazal Elhaei, who will moderate the post-screening Q&A, to discuss the film’s impact, the significance of gender equity in the industry, and how storytelling can serve as an act of resistance. —Noa Nichol
Sepideh Yadegar
One Must Wash Eyes is deeply personal and inspired by real-life experiences. What was the most challenging part of telling this story?
The most challenging part was balancing the deeply personal nature of this story while making sure non-Iranian audiences could understand the complexity of life as an Iranian immigrant woman. Sahar, like many of us, makes mistakes. But how much of her struggle would the audience truly grasp? How much would they be willing to forgive? Telling a personal story meant navigating the weight of Sahar’s life, her resilience, her flaws, and the impossible choices she faces while also staying true to my own experiences. Many of the struggles she endures are ones I have lived through myself. In many ways, making this film felt like opening my heart and asking people to look inside. That level of vulnerability is terrifying, but it is also necessary because stories like this need to be told.
The film is rooted in the Woman, Life, Freedom movement. How do you hope it contributes to global conversations about women’s rights in Iran and beyond?
One Must Wash Eyes is deeply rooted in the Woman, Life, Freedom movement, and I hope it sparks conversations that go beyond fleeting headlines. Western media often overlooks the full scope of these crises, and the reality is far worse than what we see. In Afghanistan, women have been erased from public life, banned from schools, jobs, and even parks, yet their suffering barely makes the news. Women have been living under gender apartheid for decades, and ignoring it out of fear of offending others only allows it to continue. If something is wrong, it is wrong. My hope is that this film compels people to see, to care, and ultimately, to take action.
The protagonist, Sahar, experiences the consequences of activism from afar. How does this reflect the struggles of the Iranian diaspora, including your own experiences?
Like many in the Iranian diaspora, I felt powerless as the uprising unfolded. The constant stream of videos and news triggered panic attacks, yet I could not look away. I realized that many of my non-Iranian friends were only paying attention because of what I was sharing, and that was one of the few things I could do. It was heartbreaking to watch young teenagers lose their lives simply for wanting to live freely. They stepped outside every day, knowing the risks, and still chose to fight. One Must Wash Eyes reflects that painful distance, the experience of witnessing injustice from afar, unable to be there, yet feeling the urgency to do something, anything, to keep their voices from being silenced.
Many members of your cast and crew are Iranian-Canadian. How did their lived experiences shape the storytelling and production process?
Working with a large number of Iranian-Canadians on set made the story feel incredibly authentic. Every conversation with the cast and crew revealed how many had lived experiences similar to Sahar’s, each bringing their own version of the immigrant struggle into the film. Beyond that, collaborating with people from Bahá’í and Zoroastrian backgrounds was especially meaningful, knowing this kind of inclusivity is impossible inside Iran. Creating this film together, free from fear and restrictions, was not just a privilege but a powerful reminder of the stories we can tell when given the freedom to do so.
What was it like filming in Vancouver while portraying a story that is so deeply connected to Iran?
I did not fully realize it at first, but during the protests in Vancouver, I saw just how massive the Iranian community is here. That made filming in British Columbia feel natural. There was a strong sense of connection, and it felt like the right place to bring this story to life. The biggest challenge was finding a Farsi-speaking cast who could truly do justice to the story. My producer, Amanda Konkin, and I were really worried about that. We knew how important it was to get it right. We were incredibly lucky to work with Tina Marie McCulloch, a wonderful casting director who went above and beyond to make sure every role was cast perfectly. Without her, this film would not have been the same.
The themes of the film highlight censorship, surveillance, and repression. What kind of risks or challenges did you face in making this film?
When I was looking for locations, I would walk into shops in North Vancouver, never knowing who I was talking to. Was this person pro-regime or against it? That was a risk I had to take, but it was nothing compared to what Iranian women were facing inside the country. There were many moments when I felt uncomfortable and even scared, but the women in Iran were my inspiration to keep going.
What do you think is the biggest misconception about the Woman, Life, Freedom movement, and how does One Must Wash Eyes challenge these narratives?
The biggest misconception about the Woman, Life, Freedom movement is that it is only about the hijab. It has never been just about a piece of fabric. It is about women’s rights, freedom of speech, and the right to exist without restrictions. It is about not needing a man’s permission to leave the country, being counted as a full human in court, ending child marriage, and having the freedom to dance, sing, swim, and simply live. It is about democracy over dictatorship.
One Must Wash Eyes challenges these misconceptions by telling a deeply personal story that makes the audience feel the weight of these struggles. My hope is that after watching the film, people will understand that this movement is not about clothing. It is about basic human dignity.
As a first-time feature director, what lessons did you learn during the filmmaking process?
I learned that making a film means hearing no ninety percent of the time and still pushing forward. That remaining ten percent, the people who say yes, are the ones who truly believe in you. They are the ones who will make your experience the best it can be. I also learned to trust my instincts. Many times, that was the only thing I had to rely on. There is no perfect roadmap for making a film, especially as a first-time feature director. You have to make decisions in the moment, adapt, and believe in your vision and the people around you even when the odds are against you.
What message do you hope audiences take away from this film, particularly those who may not be familiar with the realities Iranian women face?
Iranian women lost their freedom when the Islamic Republic of Iran came to power, and that regression happened one day at a time. It did not happen overnight. It was a slow erosion of rights, and that is something no one should ever take for granted. I want audiences to understand that no country is immune to this kind of change. Be vigilant. Stay informed. Push back. Stand for your autonomy before it is taken away. As Gloria Steinem said, “The truth is, no one of us can be free until everybody is free.” That is the reality. The fight for women’s rights is not just an Iranian issue. It is a global issue.
As One Must Wash Eyes premieres at GEMFest, what does it mean to have this moment of recognition at a festival dedicated to gender equity in film?
It is an absolute honour. For my producer, Amanda Konkin, and me, this is a dream come true. I have always admired GEMFest, and having One Must Wash Eyes premiere on opening night at a festival dedicated to gender equity in film makes this moment even more meaningful. This film is deeply rooted in the fight for women’s rights, and seeing it recognized in a space that uplifts diverse voices and stories is incredibly powerful. It is a reminder that films like this matter. More than that, it is proof that there is a community of people who are listening, engaging, and advocating for change.
Ghazal Elhaei
As the moderator for the opening night Q&A, what key discussions do you hope to bring to light about One Must Wash Eyes?
One Must Wash Eyes lingers long after the credits roll. As moderator, I want to explore the layers beneath its story—the weight of displacement, the ripple effect of defiance, and the silent battles of those forced to leave home. We’ll dive into the artistic and personal choices that shaped the film, its urgent real-world parallels, and how storytelling itself becomes an act of resistance. I can’t wait for audiences to experience it and join a conversation that will be just as powerful as the film itself.
GEMFest has been advocating for gender equity in media for 20 years. How has representation of women and gender-diverse filmmakers evolved in that time?
The landscape has definitely shifted. We’ve seen more women and gender-diverse filmmakers stepping into positions of power—directing, producing, and running companies. Initiatives like GEMFest have played a crucial role in building networks, providing mentorship, and creating pathways to visibility. However, challenges remain: systemic barriers, funding disparities, and limited opportunities for diverse stories still exist. The progress is real, but there’s more work to be done to ensure sustainability and equal access to creative leadership.
What drew you to support One Must Wash Eyes, and why do you think it was the perfect choice to open this year’s festival?
One Must Wash Eyes embodies so much of what we stand for; amplifying emerging and underrepresented women and gender-diverse filmmakers. It’s a testament to the incredible talent in our local community, which deserves far more support. What Sepideh Yadegar and her team have achieved on a limited budget is remarkable. The film weaves cross-cultural connections, grounds a movement with global weight in Vancouver, and ties Sepideh’s own lived experience to that of her lead character, Sahar. It also reminds us that the fight for women’s rights is universal, echoing across all societies. When Features Programmer Laura Arboleda and Lead Programmer Sadie Barker put this forward as our Opening Night film, it was an immediate yes—this is exactly the kind of storytelling GEMFest is here to champion.
As an Iranian-Canadian filmmaker yourself, how do you see the role of storytelling in preserving cultural identity and advocating for social change?
Storytelling is one of the most powerful tools we have to resist erasure. For diasporic communities, film becomes an archive, a way to preserve language, tradition, and lived experience. But beyond preservation, storytelling is also about transformation. It allows us to challenge dominant narratives, to redefine who we are on our own terms, and to create empathy across borders. For me, every film, every story, is an act of reclaiming space, whether it’s in personal identity or the broader fight for justice.
What unique challenges do women, particularly those from underrepresented backgrounds, face in the film industry today?
One of the biggest challenges is access, not just to funding but to networks, mentorship, and meaningful opportunities. Women and BIPOC filmmakers are often given smaller budgets, shorter timelines, and less margin for error. There’s also the challenge of being boxed in: being expected to tell certain kinds of stories or make work about identity rather than simply being informed by it. Add to that the subtle (and sometimes not-so-subtle) biases that exist in decision-making spaces, and you realize that it’s not just about talent; it’s about who gets permission to fail, to experiment, and to take up space.
What impact do you think GEMFest has had in shaping the careers of women and gender-diverse filmmakers in Canada?
GEMFest has been a vital advocate and support system for women and gender-diverse filmmakers, not just in Canada but globally, creating a space where visibility, mentorship, and access take center stage. More than just a festival, it has built a strong sense of community that uplifts, connects, and champions filmmakers at every stage of their careers. Having a network of peers and mentors is invaluable in an industry that often feels isolating. While the work is ongoing, GEMFest continues to build on this foundation, ensuring that emerging voices don’t just get a moment in the spotlight but have the sustained support they need to thrive. Looking ahead, the focus remains on expanding visibility, deepening mentorship opportunities, and increasing access because real equity isn’t just about representation; it’s about creating a sustainable future for diverse storytellers.
What advice would you give to aspiring filmmakers who want to tell socially conscious stories but are unsure where to start?
Start with you. The most powerful stories come from urgency; the things that move you that you can’t ignore. If you want to tell socially conscious stories but don’t know where to start, look inward. What keeps you up at night? What lived experience or perspective do you bring that no one else can? Start there. And don’t wait for permission; begin with what you have. A short film, a written reflection, a voice memo; some of the most impactful stories begin as small, personal moments. Finally, find your people. Filmmaking is collaborative, and the right community will push your vision further than you could alone. Social change in film doesn’t come from grand gestures but from truth. Tell yours.
With One Must Wash Eyes tackling themes of surveillance and state repression, do you think filmmakers have a responsibility to take on activism in their work?
I think filmmakers have a choice, but with that choice comes an incredible opportunity. Every film, whether overtly activist or not, carries a perspective, shaping how we understand each other and the world around us. Even stories that seem apolitical build empathy, shift culture, and spark conversations. For those who choose to engage with activism through film, the impact can be profound—storytelling has the power to humanize issues, turn statistics into lived experiences, and inspire action in ways that news cycles can’t. That’s why oppressive regimes fear artists; storytelling has the power to make people care. So, while not every filmmaker has to be an activist, every filmmaker should recognize the weight of their platform and the responsibility that comes with shaping narratives that can change the world.
What are some of the must-see films and events at this year’s GEMFest that audiences should look out for?
We’re introducing exciting new elements to GEMFest this year, including the Ethical Production Panel, moderated by GEMS Executive Director Anaïsa Visser, featuring acclaimed filmmakers Jules Koostachin and Shannon Walsh alongside industry experts in equity, diversity and inclusion, sustainability, and mental health, presented with CMPA. We’re also hosting the new GEMS Showcase, a free event where our incredible Talent Lab alumni will pitch their feature and TV projects to industry and community, presented with Sunbelt Rentals Film & TV. I’ll be leading Expectations vs. Reality: Strategic Moves to Build Your Film Career, a 90-minute workshop designed to help filmmakers and creatives navigate the business side of the industry—building a personal brand, making key industry connections, and positioning their projects for success. As for films, I won’t pick favorites, but there’s truly something for everyone, from powerful Canadian and Indigenous features like Singing Back the Buffalo and Seeds to a Special Presentation pairing Thea Loo’s documentary Inay with GEMFest alum Jaime Leigh Gianopoulos’ short Ask the Plantain, bringing both filmmakers into conversation about their shared themes. Whether you’re here for bold storytelling, career-building opportunities, or vital industry conversations, GEMFest 2025 has something to offer for you.
Looking ahead, what do you envision for the future of GEMFest and the broader fight for gender equity in the film industry?
I see GEMFest continuing to evolve, not just as an event, but as a platform. Film festivals have traditionally been about exhibition, but the future is about redefining and reshaping infrastructure: creating long-term, sustainable support for women and gender-diverse filmmakers, ensuring they’re not just seen once a year but are continuously championed throughout their careers. More mentorships, more funding initiatives, more direct industry pipelines. And beyond GEMFest, I see a future where gender equity in film isn’t just about representation on- screen but also about shifting power behind the scenes: who’s greenlighting projects, who’s running companies, who’s making the decisions that shape what stories get told. That’s where real change happens, and that’s where the leadership team at GEMS has set our sights.
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