In Persepolis, there’s a tense scene where Marjane is stopped by the morality police for wearing sneakers, a denim jacket with a “punk is not ded” printed on the back, and a headscarf that isn’t “proper” enough. Though her outfit may seem harmless, under Iran’s strict regime however, it is seen as a threat to social order. The officers accuse her of dressing like a punk, how it’s too Western and that she’s tempting men with her appearance, which reinforces the idea that women are responsible for maintaining “morality.” She realizes that she’s in great danger since women have been arrested, beaten , or even killed for breaking dress codes, even for something as simple as sneakers. Marjane does eventually manage to escape, but in moments like this shows the suffocating control the government has over women. Similarly, in The Breadwinner, Parvenu faces an even harsher reality under Taliban rule, where women cannot leave home without a male escort, which is crazy. And to survive, she cuts her hair and disguises herself as a boy, allowing her to move freely and provide for her family. Unlike Marjane, who faces oppression but still has some freedom for rebellion, Parvana’s situation is even more dire, since her only option for survival is to literally erase her identity entirely. 

Both scenes show the way repressive regimes control women’s bodies, choices, and freedoms. Marjane and Parvana, though in different countries and circumstances, are both forced to navigate societies in constant fear and uncertainty. Whether it’s the morality police enforcing dress codes or the Taliban banning women from public spaces, the message is that the same-woman’s autonomy is dangerous. 

The women and families in Persepolis and The Breadwinner cope with oppression differently, but do often overlap in ways. Examples in Persepolis, despite knowing the dangers, Marjane’s parents secretly listen to banned Western music, host underground parties, and support or even encourage their daughter to think critically, even if it means putting their lives on the line. They refuse to fully conform, even as they publicly obey the rules. And likewise, Parvana’s family, especially her mother, refuse to accept the Taliban’s restrictions, attempting to seek help from an official despite the danger. Another character is Shauzia, like Parvena, copes by transforming herself into a boy, but unlike Parvenu, who remains deeply tied to her family, Shauzia dreams of leaving Afghanistan entirely, leaving everything behind. She constantly talks about running away to France, where she imagines herself living by the sea. In a world that constantly limits her, holding onto this vision allows her to mentally escape.