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This isn’t a feminist film or a lesbian film, as so many people are quick to brand it.

It’s a film about people, family, and their relationships with each other and with themselves. It is about finding yourself and being true to yourself no matter if you are a men, a women, a heterosexual or homosexual.

It was Sarah’s first time on camera, as well, so we carried each other and I think that shows in the film. I know when you initially auditioned you were only given one scene to read—what was your first impression when you finally read the full script for?

Nikohl: There were a lot of hints in that little scene.

We had so much in common—we both were raised in a Western country but are very close to our cultural traditions of our country and we both had travelled to Iran each summer…

The film is unique because it’s a coming-of-age story that addresses the consequences of trying to find oneself within a country that prohibits a lot of personal freedom, particularly for women.

I do believe though that when you really want something, when you feel completely passionate about something, fear is a secondary emotion.

I had too big a job to do to let fear get in my way, and it definitely helped to have such a supporting cast and crew.

At the beginning I had hard time talking about this project around [my mom] (my mum is French-Algerian), and, especially to my dad, who still has strong ties there.

Do you see this as a feminist film or something that extends beyond women to all of society?

Nikohl: No, I can’t say I really see this as a feminist film.

It speaks to so my different people, in my opinion.

Everyone is a victim of their circumstance in this story.

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