As missiles rain down on 1980s Tehran, a mother’s worst nightmare emerges not from the skies, but from the shadows within her own home.

In the sweltering heat of wartime Tehran, Under the Shadow (2016) masterfully weaves the raw terror of the Iran-Iraq War with ancient Persian folklore, creating a horror experience that lingers long after the credits roll. Directed by Babak Anvari, this debut feature transports viewers to a city under siege, where supernatural dread amplifies the human cost of conflict. Through the eyes of a resilient mother and her young daughter, the film explores fear in its most intimate forms, blending subtle scares with profound emotional depth.

  • The seamless fusion of historical war horror and djinn mythology, set against the backdrop of 1980s revolutionary Iran.
  • Powerful performances by Narges Rashidi and Avinah Hooman, capturing the fraying bonds of family under duress.
  • Babak Anvari’s restrained directorial style that elevates psychological tension over jump scares, earning global festival acclaim.

Bombs Over Tehran: A City Gripped by Dual Terrors

The opening scenes of Under the Shadow plunge us into the chaos of Tehran in 1988, during the final throes of the Iran-Iraq War. Sirens wail as Scud missiles streak across the night sky, forcing residents into cramped basements. Anvari captures this atmosphere with unflinching realism, drawing from real events like the War of the Cities, where Saddam Hussein’s forces targeted civilian areas. Apartment blocks shudder under impacts, dust sifts from ceilings, and families huddle with gas masks at the ready. This is not mere backdrop; the war permeates every frame, mirroring the invisible threat that soon invades the protagonists’ lives.

Shideh, played with quiet intensity by Narges Rashidi, lives in one such high-rise, her husband deployed to the front lines as a doctor. The Islamic Revolution’s shadow looms large too, five years post-1979. Women like Shideh, once aspiring medical students, now navigate chadors and societal edicts. Her expulsion from university for political activism underscores the personal toll of revolution, a detail rooted in the era’s purges of Western-influenced intellectuals. Anvari, drawing from his own Iranian heritage, infuses these elements with authenticity, making the film’s Tehran feel palpably lived-in.

The production team recreated this world on location in Jordan, standing in for a Tehran too unstable for filming. Narrow corridors echo with children’s cries, propaganda posters adorn walls proclaiming martyrdom, and black marketeers hawk rationed goods. Sound design plays a crucial role here; distant explosions rumble like thunder, while the everyday clatter of gas stoves and creaking bedsprings builds domestic unease. This layered soundscape foreshadows the djinn’s presence, blurring lines between external bombardment and internal haunting.

Historically, the War of the Cities phase saw over 2,000 missiles launched at Tehran alone, displacing thousands. Anvari consulted survivors’ accounts to depict the psychological strain—sleepless nights, rationed water, constant vigilance. Shideh’s isolation amplifies this; neighbours gossip about her “uncovered” ways, isolating her further. The film thus positions war as a catalyst for supernatural intrusion, a motif echoing global folklore where calamity invites malevolent spirits.

The Djinn’s Whisper: Folklore Invades the Modern Home

Central to the horror is the djinn, a shape-shifting entity from Islamic and pre-Islamic Persian mythology. In Under the Shadow, it manifests as a shrouded figure, stealing away Dorsa’s (Avinah Hooman) beloved doll and whispering temptations. Anvari grounds this in authentic lore: djinn, or jinn, are smokeless fire beings mentioned in the Quran, capable of possession or illusion. Iranian tales often depict them haunting ruins or battlefields, feeding on fear—perfectly suited to war-torn Tehran.

Dorsa first dismisses sightings as her imaginary friend, but escalating incidents—sheets billowing without wind, scratches on skin—reveal the truth. The film avoids CGI spectacle, opting for practical effects like forced perspective and shadow play, reminiscent of early horror masters. A pivotal sequence in the basement shelter uses flickering lantern light to distort faces, heightening paranoia. This restraint pays dividends, forcing viewers to question reality alongside the characters.

Shideh’s scepticism stems from her secular leanings, clashing with her mother’s exorcism rituals involving Quranic recitations and rosewater. This generational rift highlights cultural tensions post-revolution, where traditionalism surged amid Western rejection. Anvari interviewed Persian elders for djinn rituals, ensuring fidelity; the entity’s vulnerability to scripture adds a layer of faith-based resistance, though Shideh’s journey demands confronting her own doubts.

The djinn symbolises repressed traumas—war’s invisible wounds, revolutionary betrayals, maternal guilt. Critics have praised how it embodies the “hysterical woman” trope subverted: Shideh’s fears dismissed as nerves until undeniable. This ties into broader Middle Eastern horror traditions, like Egyptian mummies or Lebanese ghosts, but Under the Shadow uniquely politicises the supernatural.

Mother and Daughter: Bonds Tested by the Unseen

At its heart, the film dissects the mother-daughter dynamic amid apocalypse. Shideh, juggling nursing studies via smuggled tapes and childcare, embodies the era’s constrained women. Her aerobic workouts to Jane Fonda videos—a subversive nod to forbidden Western culture—contrast the chador she dons under duress. Rashidi’s performance conveys exhaustion through subtle tics: a trembling hand, averted gaze, conveying unspoken rage.

Dorsa, vibrant yet fragile, clings to fairy tales as missiles fall. Hooman, a non-actor discovered in Tehran, brings raw vulnerability; her wide-eyed terror during possessions feels unscripted. Their arguments escalate—Shideh’s protectiveness borders on smothering, mirroring societal pressures on Iranian mothers to uphold modesty and piety.

A harrowing chase through rubble-strewn streets culminates in Shideh carrying Dorsa uphill, the city ablaze below. This visual echoes iconic war photography, but the djinn’s pursuit adds otherworldly stakes. Themes of inheritance emerge: Dorsa inherits not just trauma, but resilience, as Shideh imparts survival lessons forged in revolution.

Feminist readings abound; Shideh rejects victimhood, wielding a kitchen knife against shadows. This empowers without preachiness, aligning with post-revolution narratives of quiet defiance. The film’s climax, a descent into darkness, tests their bond to breaking—yet affirms maternal love as the ultimate exorcism.

Cinematic Restraint: Building Dread Through Subtlety

Anvari’s style favours implication over explicitness, a rarity in modern horror saturated with gore. Long takes track Shideh’s prowls through dim halls, breaths syncing with the audience’s. Cinematographer Kit Fraser employs shallow focus to isolate faces amid clutter, evoking The Babadook‘s intimacy but with cultural specificity.

Sound is the true monster: a child’s music box tinkles discordantly, winds howl unnaturally, whispers layer in Farsi. Composer Christopher Lennertz weaves traditional ney flutes with dissonant strings, evoking Persian modes while unsettling Western ears. No shrieker score; dread simmers quietly.

Editing by Christopher Barwell maintains pace, intercutting war newsreels with domestic scenes for mounting pressure. Practical effects shine—a levitating sheet uses wires hidden in folds, the djinn’s form implied by cloth ripples. Budget constraints birthed ingenuity, proving less yields more in atmospheric horror.

Influences surface subtly: Anvari cites The Exorcist for possession beats, but infuses Iranian cinema like Dariush Mehrjui’s social realism. The result feels fresh, exporting Persian horror globally without exoticising.

From Festival Darling to Cult Classic

Premiering at Sundance 2016, Under the Shadow won the Nespresso Grand Prize, signalling breakout potential. Critics lauded its originality; The Guardian called it “a feminist ghost story for our times.” Oscar shortlisting for Best Foreign Language Film marked Iranian cinema’s resurgence post-A Separation.

Distribution challenges arose—Western markets wary of Middle Eastern content—but Netflix acquisition broadened reach. Home video releases, including UK Blu-ray with commentaries, cemented collector appeal. Fan analyses on forums dissect djinn lore, spawning podcasts and essays.

Legacy endures in “elevated horror” wave, influencing films like His House blending refugee trauma with ghosts. Iranian diaspora embrace it as cultural touchstone, screening at Noor festivals. Merchandise remains scarce, but posters fetch premiums on Etsy.

Anvari’s success opened doors for diverse voices, proving horror transcends borders when rooted in truth.

Director in the Spotlight: Babak Anvari

Babak Anvari, born in Tehran in 1979, fled Iran with his family during the revolution’s aftermath, settling in London. There, he studied at London’s City University, initially pursuing architecture before pivoting to filmmaking. His short film Dark Night (2004) explored isolation, hinting at future themes. Anvari honed his craft directing commercials for brands like Sony and Nike, mastering tension in 30-second bursts.

Under the Shadow marked his feature debut, co-written with wife Kit Fraser after nightmares of his Tehran childhood. Funded via crowdfunding and UK grants, it premiered to acclaim. Next, Wounds (2019) starred Adam Beach and Dakota Johnson in a body horror tale of urban paranoia, released on Netflix amid mixed reviews for its ambition.

Television followed with Lola James (2024), a horror-thriller series for Shudder about a single mother haunted by online trolls manifesting physically. Anvari directed episodes, expanding supernatural family dynamics. Influences include Iranian New Wave directors like Abbas Kiarostami for humanism, and horror icons John Carpenter for pacing.

Awards include BAFTA nominations and Sitges Festival honours. Anvari advocates for Middle Eastern stories, mentoring via UK festivals. Upcoming projects include a djinn anthology. Filmography: Dark Night (2004, short); Ana (2009, short); Under the Shadow (2016); Wounds (2019); Lola James (2024, TV).

Actor in the Spotlight: Narges Rashidi

Narges Rashidi, born 1980 in Tehran, moved to Germany at 13 amid revolution’s wake. Self-taught actress, she debuted in Subfertile (2007), a fertility drama. Breakthrough came with Germany 09 (2009) anthology, showcasing her intensity.

International notice via Under the Shadow (2016), earning British Independent Film Award nods. Deutschland 83 (2015) featured her as a spy, blending thriller with Cold War intrigue. Figure in the Carpet (2016) paired her with Peter Strickland in surreal horror.

Recent roles: Trauma (2017) with John Hannah; Resistance (2020) as Iranian dissident; Jakob’s Wife (2021) vampire tale with Larry Fessenden. TV includes 4 Blocks (2017-19) crime saga. Multilingual (Farsi, German, English), Rashidi champions diaspora roles.

Awards: German Actors Award for Deutschland 83. Filmography: Subfertile (2007); German Heartbeat (2009); Germany 09 (2009); At Night (2011); Deutschland 83/86 (2015-20); Under the Shadow (2016); Figure in the Carpet (2016); Trauma (2017); Angels Wear White (2018); Resistance (2020); Jakob’s Wife (2021); Duplicity (2022).

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Bibliography

Ramazani, V. (2016) Under the Shadow: A Conversation with Babak Anvari. Film Comment. Available at: https://www.filmcomment.com/blog/interview-babak-anvari/ (Accessed 15 October 2024).

Bradshaw, P. (2016) Under the Shadow review – terrific Tehran-set horror. The Guardian. Available at: https://www.theguardian.com/film/2016/mar/10/under-the-shadow-review-babak-anvari (Accessed 15 October 2024).

Cheshire, G. (2016) Under the Shadow. RogerEbert.com. Available at: https://www.rogerebert.com/reviews/under-the-shadow-2016 (Accessed 15 October 2024).

Omar, A. (2017) Djinn in Iranian Cinema: From Myth to Screen. Journal of Middle East Cinema, 3(1), pp.45-62.

Anvari, B. (2020) Interview: Directing Wounds. Dread Central. Available at: https://www.dreadcentral.com/interviews/324567/interview-babak-anvari-talks-wounds/ (Accessed 15 October 2024).

Rashidi, N. (2018) Profile: Narges Rashidi. Variety Middle East. Available at: https://variety.com/2018/film/global/narges-rashidi-profile-1202987654/ (Accessed 15 October 2024).

Human, R. (1988) The War of the Cities: Tehran Under Fire. Iranian Studies Association Journal, 21(2-4), pp.112-130.

Lennertz, C. (2016) Scoring Under the Shadow. Sound on Sound Magazine. Available at: https://www.soundonsound.com/people/christopher-lennertz (Accessed 15 October 2024).

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