Cypriot filmmaker Tonia Mishiali explores themes of immigration, patriarchy, and women's resilience in her film 'The Lion at My Back,' featured at the Karlovy Vary Film Festival.
New Delhi, India Jul 6, 2026 ALN: Cypriot filmmaker Tonia Mishiali tackles immigration, the patriarchy, and the strength of women in “The Lion at My Back,” which is playing in the Crystal Globe competition at the Karlovy Vary Film Festival. This film represents a significant contribution to contemporary cinema, addressing complex social issues through the lens of personal narratives and character-driven storytelling. The film's premise revolves around the intertwining lives of two women from vastly different backgrounds, highlighting the universal themes of struggle, resilience, and the quest for identity.
The feature follows the bond that grows between Senegalese immigrant Mariama (Sokhna Diallo) and Stella (Elena Kallinikou), a woman who works at a Cyprus immigration center and is trying to rebuild her life. This narrative structure not only highlights the intersection of their lives but also reflects broader themes of resilience and solidarity among women facing systemic challenges. As the story unfolds, the audience witnesses how their separate journeys converge, creating a powerful commentary on the shared experiences of women in difficult circumstances.
“Each has their own issues, their struggles,” the director says of her second feature. She wanted to build on what she had created in “Pause,” her first feature. “So I thought, OK, two parallel storylines. I follow one, then when they meet, I transcend to the other one, and then every time they meet, I started to build their relationship more and more to come more organically.” This approach allows the audience to witness the evolution of both characters as they navigate their respective challenges and ultimately find strength in their connection. The film's structure not only serves to deepen character development but also emphasizes the importance of relationships in the face of adversity.
Mariama, despite facing limited job prospects and racism, is portrayed as happy, almost joyous about life, while Stella is depicted as bitter and cynical but clings to hope. This contrast serves to highlight the varying responses individuals have to adversity. Mishiali subtly doles out the backstories of the characters, building fully rounded women that a patriarchal society has used and abused. However, she skillfully creates well-rounded portraits of male characters too, acknowledging the complexities of their roles within the narrative. But Mishiali refuses to have them give up, which tracks: she centers her films on social justice and women’s issues, making a conscious effort to depict the multifaceted nature of human experience. The film does not shy away from showcasing the struggles faced by men within the patriarchal framework, thus providing a more nuanced exploration of gender dynamics.
The film also delves into motherhood, a theme that resonates deeply throughout the narrative. Stella fights to regain custody of her young daughter and begins to treat Mariama as a daughter too. “I wanted it to be a note to motherhood. I have a teenage daughter—well, when I started writing the film, she was a teenager. I wanted to write a film about the complex relationship between mothers and daughters, because I think it’s very special, but it’s very complex at the same time.” This exploration of maternal relationships adds another layer to the film, emphasizing the emotional intricacies that define women's lives and the sacrifices they often make for their children. The bond that develops between Stella and Mariama serves as a poignant reminder of the power of female solidarity, especially in the face of societal pressures and personal struggles.
Mishiali's personal experiences as a refugee during the 1970s after Turkey invaded Cyprus also inform the narrative. “We were forced to flee our homes; I was just 1 year old. I don’t remember much, but this was a trauma that my family carried all these years. We were thrown out of our homes, and we carried this ‘refugee’ feeling, and the bitterness. But then I met all these African women, these asylum seekers in Cyprus, and I couldn’t believe how positive these people were,” she reflects. “They were always looking at life positively, they were grateful for managing to be where they are.” This background not only shapes her worldview but also enriches the authenticity of the characters she creates, as they navigate their own struggles for identity and belonging in a foreign land. Mishiali's ability to draw from her own experiences allows her to create relatable and authentic narratives that resonate with audiences on a deeper level.
Mishiali has a passion for spotlighting the stories of women who are sidelined by society, framing her characters within a world where they are not respected. “I wanted to position these two characters within this culture… there’s patriarchy still there, and I see it every day. As a female filmmaker, we have struggles, and also to be trusted and to be respected,” she says. This dedication to representing women's experiences in a patriarchal context is a central theme in Mishiali's work, as she seeks to challenge societal norms and advocate for greater visibility and recognition of women's narratives. By placing the focus on female protagonists, Mishiali not only elevates their stories but also encourages discussions about gender equality and the importance of women's voices in the film industry.
When discussing her cinematic influences, she singles out Chantal Akerman and her film “Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles.” “In my opinion, it remains one of the most important feminist films ever made and it was one of the first films that inspired me to embrace a female perspective in my own filmmaking,” she states. This acknowledgment of Akerman's impact underscores the importance of feminist cinema in shaping contemporary filmmakers' approaches to storytelling and character development. Akerman's work is often lauded for its meticulous attention to the mundane aspects of women's lives, and Mishiali's film similarly seeks to elevate the everyday experiences of women, revealing the strength and resilience that often goes unnoticed.
The film is produced by Bark Like a Cat Films (Cyprus), co-produced by Iris Prods. (Luxembourg) and Avalon Films (Greece). Yellow Affair is handling international sales. The collaboration between production companies from different countries reflects a growing trend in the film industry towards international co-productions, which can enhance the diversity of perspectives and experiences represented on screen. Such collaborations not only foster cultural exchange but also allow filmmakers to pool resources and expertise, ultimately resulting in richer and more varied storytelling.
As “The Lion at My Back” continues to make its mark at film festivals, it serves as a poignant reminder of the power of storytelling to illuminate the struggles and triumphs of women in the face of adversity. By tackling themes of immigration, patriarchy, and resilience, Tonia Mishiali's work not only enriches the cinematic landscape but also contributes to ongoing conversations about gender, identity, and social justice. The film invites viewers to reflect on their own perceptions of these issues and encourages empathy and understanding for those whose stories are often overlooked in mainstream narratives. In an era where representation and inclusivity are increasingly recognized as vital components of storytelling, Mishiali's film stands out as a testament to the importance of amplifying women's voices and experiences in cinema.
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