On 21 August 2024, the Taliban intensified their oppressive measures against Afghan women by implementing a new ‘Morality law’ that prohibits women from speaking or showing their faces in public. This decree, enforced by the Ministry for the Propagation of Virtue and the Prevention of Vice, mandates that women remain silent outside their homes, effectively erasing their presence from public life. The United Nations (UN) was quick to condemn this policy, describing it as “a distressing vision of Afghanistan’s future.”

But how did we get here? Well, this law is part of a broader pattern of escalating restrictions on women’s rights in Afghanistan. Since regaining power on 15 August 2021, the Taliban have systematically dismantled the most vulnerable members of society’s access to education and employment. Girls have been banned from secondary schools since March 2022 and women were suspended from universities in December of the same year. Additionally, women have been barred from most forms of employment, including roles in non-governmental organisations and international agencies.

In response to the ongoing human rights crisis in Afghanistan, Amnesty International has condemned the lack of action taken by the international community. As Samira Hamidi, Regional Campaigner for South Asia at Amnesty International, stated: “Three years on, the absolute absence of any concrete measures in addressing the human rights catastrophe in Afghanistan is a source of shame for the world.”

In this harrowing context, SCREENSHOT had the privilege of sitting down with Valentina Sinis, a remarkable documentary photographer whose work brings to light the lives of the unseen and unheard. We previously spoke to Sinis about another highly important topic: Iraqi Kurdistan women burning themselves as a form of escape from domestic violence or an expression of extreme despair.

And now, the photojournalist has taken on another deeply challenging investigative journey into Afghanistan, seeking to uncover the human stories behind the Taliban’s relentless crackdown on women.

To gain access to Afghanistan, Sinis faced immense challenges and was required to sign a contract dictating her movements, interactions, and subjects of documentation. Despite these restrictions, her unwavering commitment to shedding light on the plight of Afghan women propelled her forward.

Through her lens, Valentina captured the quiet courage, heartbreaking resilience, and determined acts of defiance that define the lives of women under Taliban rule. Her work provides a raw and unflinching portrait of the women who refuse to be silenced, even as oppressive policies seek to erase them from public life.

Afghanistan’s unfolding story under Taliban rule is one of the most significant global developments. Despite the risks, documenting the realities, especially the plight of women and marginalised groups, is crucial to inform the world and preserve a historical record. My personal commitment to human rights and justice drove me to travel to Afghanistan under Taliban rule.

Journalists must secure Taliban-issued permits, which dictate where they can go and what they can document. There are often bans on filming sensitive topics, particularly women’s issues, and all content may be subject to scrutiny. Complying with these conditions is critical to gaining access, but it also presents ethical dilemmas in ensuring authenticity.

Obtaining permission involved lengthy negotiations, scrutiny of my credentials, and working with local intermediaries who could navigate the Taliban’s bureaucracy. The volatile security situation and pervasive distrust of foreign journalists added to the complexity, but patience and persistence were key.

Yes, my work primarily focused on women, which provided an intimate window into their lives. This approach highlighted their resilience and underscored their immense risks in speaking out. It demanded sensitivity and discretion in documenting their stories without endangering them.

Western journalists, particularly women, may be viewed with a mix of suspicion and respect. They often receive more freedom than local women, who live under much stricter conditions. However, both groups face constraints in navigating male-dominated spaces.

The near-total absence of women in public spaces was striking. Their lives seemed confined to the shadows, shaped by fear and resignation. Yet, beneath this, there was a quiet determination, with women finding ways to resist and survive despite the odds.

Women have adapted creatively, forming underground networks for education and work. Some rely on male relatives to mediate access to public spaces, while others engage in quiet acts of resistance. The Taliban to some extent has tolerated women to be seen in public with different restrictions. For instance, the Taliban did not allow women to drive but allowed certain women to work in health services.

Witnessing the quiet determination of Afghan women to educate their daughters in secret schools, despite severe consequences, was deeply moving. Equally striking was the resilience of families finding joy and hope amidst adversity.

Respecting cultural norms, such as dress codes and social etiquette, was essential to building trust. At the same time, it was important to discreetly capture the raw reality, ensuring stories were told authentically without endangering subjects.

My aim is to shed light on their strength, resilience, and the injustices they face. By keeping their stories alive in the global consciousness, I aim to galvanise international support and influence policies that can bring change.