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Sepideh Farsi, one of the most famous Iranian directors, has created a diverse body of work spanning both documentaries and feature films. Her first animated film, THE SIREN, was the opening film of the 15th ReA International Animation and Comic Art Festival and received the “Jury Special Mention” award in the feature film category. In 2025, the film was back on the screen at the 16th ReAnimania International Animation Film and Comics Festival in Yerevan.
In November 2025, THE SIRENwon the Best Animated Film award at the 16th Asia Pacific Screen Awards in Gold Coast, Australia. The film tells the tragic events of the Iran-Iraq War, showing them through the prism of animation art. Farsi’s work has already become a highlight of several major film festivals, such as the Berlinale and Annecy, where her film has delighted critics and audiences with its unique visual style and strong emotional content.
Following the screening of THE SIRENat the 16th ReAnimania Festival, STYLE.NEWS.am spoke with Farsi about the creative process, the challenges of making the film, and her participation in this festival.
Your films have always stood out for their emotional depth, and THE SIRENis your first work in the animation genre. How did you approach the process of making the film and why did you choose animation for this story?
My creative process always begins with an idea that becomes an obsession. It is a story that I simply have to tell. In the case of THE SIREN, I realized from the very beginning that only animation can convey the necessary distance and emotional tension. Before that, I had worked with feature and documentary films and also photography, but for this particular topic—the civilian resilience during the siege of Abadan during the Iran-Iraq War—animation turned out to be the ideal form. It allowed me to convey those horrors and moments of internal struggle that would have been impossible to express so accurately through a live action film where we would have needed to recreate an era and a city in sets and with CGI that would have proved impossible. Animation gave me freedom of interpretation and helped me show the war through more metaphorical images.
What key elements of the film do you consider most important, and how did you implement them in animation?
For me, the most important thing is the way the story is told, especially through the lens of visual art. I wanted to convey the tension of war through the eyes of a young boy, Omid. He witnesses the destruction and grows up in these terrible conditions. Choosing a teenager allowed us to show how war affects those who are not yet adults, but no longer children.
The visual style was also an important part of the film. I can’t draw, so it was important for me to find an artist who could realize my vision. I worked with Zaven Najjar, whose style perfectly fits this film—iconic, yet very expressive. Together, we created a visual “grammar” for the film, in which colors and patterns play a key role in expressing the pressure of war.
As you mentioned, making an animated film was a new experience for you. What were the main challenges you faced?
One of the biggest challenges for me was that I don’t draw myself. In live-action or photography, I can visualize the shots and explain to the team how they should look. In animation, I had to work through translation—I conveyed my ideas to the artists, animators, set designers so they could visualize them. It was a difficult process, especially when I was working with people who were not familiar with Iranian culture. I had to give them a lot of cultural references, show them documentaries and photos so they could understand what kind of visual effect I had in my mind.
Music was another important element. It not only set the rhythm for the animation, but also helped create the right atmosphere. We recorded the voices of professional actors from the very beginning to set the right tone and energy for the film from the moment we started storyboarding and all the way through the following creative stages.
What was the main message you wanted to convey to the audience through this story?
THE SIRENis a story about resilience and choice. Even in the most difficult circumstances, a person can always choose how to respond to circumstances. I wanted to show that even during war, there is a place for humanity, hope, and the fight to preserve oneself. This is a film about how people can maintain their inner strength and look for light even in the darkest moments. I also wanted to depict a more nuanced picture of the Iranian society and speak of all those people who fought the war, and who were later erased from the records in the official propaganda narratives of the Iranian regime. There are always many ways to resist and to fight for peace.
How do you rate your participation in the ReA Festival? What emotions does this experience evoke in you?
For me, coming to Armenia is always something special. I can’t go back to Iran since 2009, and Armenia is very close to my homeland. This evokes strong feelings in me because Armenians and Iranians have always been culturally close to each other. This festival is small, but it is full of heart and soul, and I am very pleased to be a part of this event. I am also discovering Armenian animation, which, as it turns out, is very diverse and interesting.
Are there any Armenian directors or films that you particularly admire?
Of course, I can’t help but mention Sergei Parajanov. His works have had a huge influence not only on Iranian directors, but also on me personally. I discovered his films when I was already living in Paris, and they left a deep impression on me. I also recently watched We and Our Mountains by Henrik Malyan—an amazing film that I really liked, with a very original sense of satire.
How do you see the future of Armenian animation?
I see great potential. There are many young talents here who can create unique works. The most important thing is to preserve their visual identity and not succumb to the influence of Western trends. I see that Armenia has deep cultural roots that can be developed and expressed through animation. If Armenian animators use their rich traditional culture and adapt it to contemporary art, they will be able to create truly outstanding and interesting works.