“Cutting Through Rocks” follows Sara Shahverdi’s brave story as she runs as the first Council Woman in her village’s history in Iran. She’s a midwife who’s delivered more than 400 babies, the only woman in town riding a motorcycle, and a force to be reckoned with who wants to fight for the equal rights of all the women in her village. Filmmakers Sara Khaki and Mohammadreza Eyni collaborated on this film that went on to win the World Cinema Grand Jury Prize: Documentary at this year’s Sundance Film Festival.
How did you hear about Sara Shahverdi’s story and end up meeting her? How did you get involved with that?
Sara Khaki (SK): So, I immigrated to the U.S. when I was a teenager, and after many years of living here and working as an editor in New York, I wanted to work on a story about a woman who chose to stay in her country and fight for the lives of women and girls. I did extensive research, and it took me quite a while to learn about Sara. When I found out there was a woman in northwest Iran, the only female motorcycle rider in her village and a midwife who had delivered 400 babies, I was intrigued. I got her phone number and asked if she’d be willing to talk to me, and after six or seven months, we became friends over the phone. Then, she mentioned that she was running for a council seat, and I thought: This is the perfect time to start the production. I had also worked with Mohammadreza Eyni in the past, and since he had lived in Iran the whole time, I knew he would be the right person to call. So, I called him, and we started working together on the project. From day one, we walked into the village together.
Mohammadreza Eyni (ME):I was lucky working with Sara on this project because I’m from the community, and I’ve always thought about documenting the underrepresented stories from that region, especially related to women. But for making a film about women in this region, you need a female director. In this masculine culture, it’s not acceptable for a male director to go there and make a film. We could do a report, but not a real documentary — one that speaks to emotions and feelings and captures the depth of what’s happening. Since I understand the culture, language, and traditions, we were able to get into the deeper levels of it. So, it was really a team effort, and I’m happy with how well we worked together.
How did you build trust with her, especially as a man going into a woman’s space? Did she feel comfortable with both of you being there, or how did trust-building work?
ME: Sara, the main character, is unique in that she’s used to dealing with both men and women. She’s from the area and knows how to work with men in business settings, so for her, this wasn’t as difficult as it might be for other women. But with Sara (Khaki) being a woman, the connection was very different. We didn’t achieve the deep connection with Sara in just the first or second meeting — it was an ongoing process. Over time, she trusted us, understood our vision, and gave us permission to access parts of the village that would have been impossible without her.
SK: Yes, it was mostly about time. With time came trust and understanding of what we were doing. As documentary filmmakers, we wanted to really spend time with her and understand the stories unfolding. It was a matter of building a friendship and trust, and that allowed us to do the filming. Another thing that helped us gain access to the local community was Sara’s role as a midwife. People trusted her because they knew her, and that credibility opened doors for us. Sometimes, when people saw Sara, they accepted us as filmmakers.
That makes sense. It’s honestly incredible watching Sara navigate situations where I feel so much anxiety — she just does it over and over again.
SK: Yes, she’s amazing. For example, when Sara became a councilwoman, she wanted to bring gas to the village and create a co-ownership model for women, where they could share ownership of their lands with their husbands. Initially, we were skeptical — how could she pull this off? But over time, she managed to make it happen. She was able to create this opportunity for 100 households, where 100 women became co-owners. This was huge, not just in her village but also in Iran, and maybe even in the Middle East.
I’m also curious about your experience as a female director making this film in a village where being a filmmaker probably wasn’t the typical role for women. What was it like going into this place with your education and expertise in filmmaking?
SK: I hadn’t lived in Iran for 15 years. Walking into this village, there were a lot of nuances I had to adjust to. Growing up in Iran, I’m familiar with the traditions and stories, including the struggles and triumphs of strong women like Sara. But the nuances were different. For me, the initial fear was the question of whether we could actually make this film. You know that feeling of starting something risky, not knowing how it will turn out? But it was really important to have Mohammadreza there, as he understood the culture and language.
In the traditional setting, it’s not normal for men to look a woman in the eye or acknowledge her in certain situations, especially not in serious conversations like business negotiations. In the beginning, it was frustrating, and I felt invisible, like I was being dismissed. But over time, I came to understand and respect the cultural setting. We also used that feeling of invisibility as part of the theme in our film. It’s a universal feeling that many women experience in different parts of the world.
ME: If someone were to ask me to explain this film in one word, I would say “invisibility.” The film is about Sara’s fight to be seen and to create space for other women to be seen. Sara, as a director, has a deep understanding of inequality, not only in Iran but also beyond, and it’s personal for her as a woman. We often discussed Sara’s experiences as a director and as a woman, especially in situations like when we went to rent a house in the capital city. Men would ignore Sara when discussing serious topics, like contract negotiations or prices. They’d only speak to me, and it was very frustrating for her. It was a clear example of the power dynamics rooted in the traditions of the region.
It’s something that’s still very present, even today. I think if you went there alone, they’d speak to you, but when Sara is with me, they think, “Oh, this is a man, this is a power dynamic.” It really shows how ingrained these traditions are. I’m glad we could bring this story to life through this film.
I love that you’re sharing these stories because, like you said, it’s so important to create space for talented women.
ME: It’s important for me because if I had been born as a girl, it wouldn’t have been possible for me to be a filmmaker. I feel responsible for telling these stories, to create space for talented women from my community.
Do you ever ride motorcycles with them?
SK: Sara offered to give me a ride, and I did take the back seat a few times. I enjoyed it, but I don’t know how to ride a motorcycle, and I’m a bit scared to try! But I’m so proud of the girls who can ride.
What is something you learned from Sara (Shahverdi) while filming with her?
ME: For me, it’s the importance of being honest with your intentions and fighting for what you believe in. Seeing Sara’s journey: It’s clear how easy it is to get discouraged, but she fights for her dignity and visibility despite so many obstacles.SK: I also learned the importance of perseverance and hope. Sometimes life feels like a dark tunnel, and you can’t see the light at the end. But if you trust your gut and take risks, eventually, you’ll see the light. That’s something I really admire about Sara.
