80 min
6
2026
Iran
Bahar is an acclaimed Iranian director, having made numerous films selected in international festivals. So when she casts actors and asks them to wear women’s outfits for her latest film, they agree in the hope of an international career — or even a visa to leave the country. But wearing skirts and headscarves under the heat is harder than they expected … as is the hit to their pride.
Overview
Reviews
Brent Marchant wrote:When is a comedy not a comedy? When its genre is obviously mislabeled. And such is the case with this latest offering from writer-director Ghasideh Golmakani. While this release is by no means a bad film, it definitely does *not* live up to its erroneously bestowed billing. Indeed, rather than playing like the comedy that it’s supposed to be, “Head to Head” is more of a social commentary about women’s rights in Iran, a patriarchal society in which the opposite sex is summarily subject to a wide range of legal restrictions about how they must dress and conduct themselves in public. The country’s so-called morality laws – written by men for women and that dictate the stringent clothing and behavioral requirements imposed on them – carry severe sanctions for even the smallest of violations. They’re enforced by teams of secret police to ensure compliance, without regard to any of the associated hardships, and to which men are not subject. Hardly seems fair, right? That’s where this release comes into play, seeking to openly address the inherent inequality of this issue. To make a point about this gender-based disparity, internationally acclaimed activist/underground filmmaker Bahar (Mehrnoosh Sattari) begins production on a movie in which she casts men to dress like women, with head scarves (the traditional *hijab*) and skirts. The fictional director also instructs her all-male ensemble how to behave, chiding them for engaging in any “provocative” acts that might otherwise land them in prison. Through these role-switching measures, Bahar and her cameraman (Ebrahim Azizi) look to capture footage of these men as they experience firsthand what it’s like to be subjected to these kinds of restrictions. It’s a scenario that could be potentially rife with humorous possibilities, and, to its credit, a few modest laughs surface along the way. However, given that she’s seeking to use her film to make a sociopolitical statement – one that, in itself, could lead to Bahar and her cast being arrested if caught in the act by authorities – the humor factor is seriously watered down. Perhaps that was an intention of the filmmaker behind this production, given that too much comedy might appear flippant in conveying its message, and that’s certainly understandable. But, if so, why bill this picture as a comedy in the first place? If it’s meant to be social commentary, then, by all means, say so. To be sure, “Head to Head” actually does a fairly commendable job in delivering on its message, but that’s not what I expected going in, a reaction that might well be true for other viewers as well. For what it’s worth, when I was growing up, I was routinely admonished to “say what you mean, not what you don’t” – advice that seems more than appropriate here.
