By now, it is well known that the murder of the Kurdish woman, Jina Mahsa Amini, last fall sparked nationwide protests in Iran. Aside from Jina, many other young protestors were killed, imprisoned, or permanently disabled, as security forces of the Islamic Republic of Iran began blinding demonstrators by firing rubber bullets at their eyes.1 These ghastly scenes were accompanied by other disturbing and violent acts that included the raiding of universities, sexual abuse of students, targeting of minority populations, and shockingly the execution of young men for their involvement in these fracases.2 The Woman, Life, Freedom (Persian: Zan, Zendegi, Azadi; WLF) uprising, which erupted in response to gender discrimination in the Islamic Republic, promptly embraced other social causes. What began as gender protests amplified people's strident cries against political repression in Iran. Despite raising awareness of a range of sociopolitical problems in Iran, the gender focus of this movement remains its singular achievement. This uprising,whose slogan (Kurdish: Jin, Jiyan, Azadi ) gained inspiration from the struggles of Kurdish women fighters, has put gender issues center stage and restored women's presence as primary agents of change in Iranian society.

I had completed two months of exploratory dissertation research in Tehran in the winter of 2015 when I was called in for questioning by two men who declined to provide me with their names or that of the office they called from. We met in an unmarked building adjacent to the Ministry of Foreign Affairs in downtown Tehran. They were middle-aged and sat on opposite sides of a table with a framed picture of Ayatollah Khomeini. When they offered me tea, I declined, remembering my cousins’ hurried advice an hour earlier. “God forbid someone puts something in your drink and they take you away to a different location,” he had said.

Since at least the 1970s, Egyptian cinema has animated scholars of the Middle East; a by-product of a cultural turn in the discipline and broader interest in using film as a scholarly source. No doubt, Egypt's rich history of film production—often (and perhaps misleadingly) referred to as the “Hollywood on the Nile”—has encouraged scholars to use its films to examine broader political issues or capture the “mood” of a particular historical moment. Scholarship has mainly focused on films of the post-1952 era, often ones that reflect a definitive ideological bent or didactic message. The early period of cinema in Egypt, from the 1920s to 1940s, is much less studied. The perception of early Egyptian films as mere “imitations” of Hollywood and devoid of blatant political messaging contributed to consigning it to the dustbin of cinema history.