All My Sisters

A documentary titled All My Sisters — also rendered in its Persian subtitle سه خواهر, meaning "Three Sisters" — is scheduled for release on April 24, 2026. The film is a co-production between Amour Fou Vienna, Sampek Productions, and brave new work GmbH, and was shot in the original language of Farsi.

The premise is deceptively simple in its framing and vast in its ambition: the film follows three sisters growing up in Tehran across eighteen years, from 2007 to 2025, tracing their lives from early childhood through young adulthood. That span alone — nearly two decades of observation — situates the project immediately within a specific and demanding tradition of longitudinal documentary filmmaking. The form has a distinguished lineage. Michael Apted's Up series followed British subjects across decades at seven-year intervals; Richard Linklater's Boyhood, while fiction, compressed a similar sweep of time into a single viewing experience. What distinguishes All My Sisters from those precedents, at least in terms of its stated concerns, is the specificity of its social and political location. Tehran between 2007 and 2025 is not an abstract backdrop. It encompasses the aftermath of the disputed 2009 presidential election and its violent suppression, years of international sanctions and economic pressure, and — crucially — the Woman, Life, Freedom movement that erupted in 2022 following the death of Mahsa Amini in morality police custody. Whether and how those events register in the film's observation of three young women coming of age is not spelled out in available materials, but the timeline makes their presence almost structurally unavoidable.

The production description speaks of a family described as loving and traditional, and of a "youth in perpetual movement" — phrasing that gestures toward the broader generational tension running through contemporary Iranian society without specifying what the film shows or argues. Three sisters raised within conventional expectations, reaching adulthood in a country whose public life was transformed, in part, by women their age: the dramatic irony of the chronology is built into the project's architecture whether the filmmakers lean into it or not.

What is notable about the production context is the international structure of the co-production itself. Amour Fou Vienna is an Austrian company with a track record in European arthouse and documentary work. Brave new work GmbH brings another European production entity into the mix. Sampek Productions completes the trio. A Persian-language film about Iranian women's lives, produced through a consortium that includes Austrian and European partners, reflects a now-familiar pathway for documentaries made under or around the constraints facing Iranian filmmakers domestically — though the exact circumstances of production are not detailed in available information. What is known is that the film was apparently shot over a period beginning in 2007 and concluding in 2025, meaning the footage predates the film's 2026 release by at least a year, and in some cases by nearly two decades.

That eighteen-year production window raises questions that trailers and press materials haven't yet addressed. Longitudinal documentaries of this kind require not only sustained access to subjects but sustained commitment from all parties — subjects, filmmakers, and financiers — across circumstances that change, sometimes radically. How the project was sustained across that period, who holds the archival material from the earlier years, and how much the film's final shape reflects editing decisions made in 2025 versus intentions formed in 2007, are all open questions. Longitudinal documentaries also tend to produce a peculiar kind of dramatic tension entirely independent of anything the filmmaker engineers: the viewer knows that childhood footage was captured without knowledge of what adulthood would bring, and the gap between those two states of knowledge — the child in frame, the adult in editing suite — generates its own emotional weight almost automatically. Whether the filmmakers exploit that structural irony or resist it is one of the more interesting unknowns going into the release.

The choice of three sisters rather than one also invites curiosity. Three subjects offer comparison within a controlled environment — same family, same city, presumably overlapping social worlds — while allowing for divergence. A youngest sister's experience of, say, 2022 will differ from an oldest sister's not just emotionally but materially; their ages, life stages, and exposures to risk will not have been identical. The description notes that all three are "in search of freedom," which is a framing choice that carries ideological weight depending on how it is handled — it can read as a genuine observation of individual aspiration or as an organizing thesis imposed retrospectively on footage gathered for other reasons. That distinction tends to become clear only in the film itself.

Audiences most likely to seek out All My Sisters on its April 2026 release will include viewers drawn to long-form observational documentary, those with existing interest in Iranian cinema and society, and anyone following the wave of international attention to Iranian women's lives that grew sharply after 2022. The film's festival profile, if any, is not yet established from available information, but the co-production structure and the subject matter suggest it will travel through European documentary circuits before or alongside any wider release.