Since the revolution of 1979 in Iran, women have been banned from singing as soloists in public, unless performing only for other women. Composer Sara Najafi is determined to fight back against this, and is planning on having a concert featuring three singers from Paris, and two Iranian singers. Along the way, she must face a government who doesn’t want her to move forward with the concert unless male singers are involved, as well as threats from people in her community.
There’s two very different emotions at play in No Land’s Song. First there is the overwhelming shock and anger many viewers will feel at the fact that women can’t sing publicly in Iran. The only reason given is that a woman’s voice is more tender, which makes very little sense. It almost implies they entice men to do things, which is ridiculous. Second, there is the incredibly inspiring and emotional journey of Sara and the other singers.
It’s no surprise where things end up, but the journey there is surprising. There is no sense in the barriers faced by Sara, and there is never a truly valid reason given. The closest they can come up with is that an election is coming, and something like this may inspire protesters. Anger almost overshadows any other emotion you’ll feel at first, but the moving story slowly takes over by the end.