The documentary War Paint – Women at War, directed by Margy Kinmonth, shines a light on the crucial role women artists play during wartime. It highlights how art transforms into a powerful tool for resistance, storytelling, and expressing the human experience amidst conflict. The film brings together a diverse group of women artists, each offering a unique and personal perspective on conflict through their art. What sets this documentary apart is its focus on women's voices, providing a refreshing alternative to traditional male-dominated war narratives.
Featured in the film is Assil Diab, a Sudanese Art Director, Creative Designer, and Graffiti Artist whose poignant murals honor the martyrs of Sudan's ongoing war. A graduate of VCUarts Qatar, Assil shared her experiences and artistic journey in a recent conversation, offering a unique perspective of the human cost of conflict through her art.
Assil Diab's involvement in War Paint: Women at War stemmed from her street art honoring the martyrs of the Sudanese revolution. "I was invited by the director of the film – the amazing Margy Kinmonth to be part of the documentary because of my work using street art to honor martyrs of the Sudanese revolution," she explains. The film's themes resonated deeply with her, particularly the intersection of art and womanhood in conflict zones. "As a female artist working in war-torn areas, I’ve seen firsthand how creative expression becomes a form of survival, resistance, and healing."
The documentary challenges conventional narratives by placing women's voices at the center. "The film puts women’s voices front and centre—it doesn’t just show them as survivors but as powerful storytellers, artists, and activists," Assil states. It captures the multifaceted struggles women face while highlighting their strength and resilience.
According to Assil, War Paint challenges the perception of women in war as passive victims. "It challenges the passive or victim-only narrative. It shows women as decision-makers, as bold creatives, and as frontline witnesses to history. We aren’t just reacting to war, we’re shaping how it’s remembered." The film also reveals the immense burdens women carry, balancing caregiving with their own survival, often with limited recognition. Yet, it also showcases their unwavering determination to rebuild and create.
For Assil, being a female war artist carries various meanings. "It means using my art to confront injustice, honour the fallen, and uplift the voices of those often silenced," she says. This identity has driven her to see art as a moral responsibility, a tool to document, resist, and inspire. In war-torn areas, art serves a dual purpose: "Art becomes a mirror of truth and a balm for pain," Assil explains. "It resists erasure by preserving memories, and it offers healing by allowing people to feel seen, heard, and connected. For me, murals became sacred spaces of remembrance and strength."
Despite their diverse backgrounds, the artists featured in War Paint: Women at War are united by a common goal. "A shared sense of purpose—to use art as a form of protest and truth-telling," Assil notes. They use their creativity to confront violence, reclaim their stories, and foster hope in challenging environments. Assil's street art aims to preserve the humanity of those affected by violence. "My message is about memory, dignity, and justice," she states. "Through portraits of martyrs and murals of resilience, I try to preserve the humanity of people affected by violence. The film does a beautiful job of amplifying that message—it gives context to the stories behind the paint." She believes art instills hope by reminding people that their stories are important, demonstrating that beauty can emerge even from destruction.
Assil hopes the film will spark conversations about the vital role of women. "I hope people begin to talk about how essential women are in both surviving and rebuilding after conflict," she says. She advocates for discussions about equity, amplifying women's roles in peace processes, and ensuring their sacrifices are recognized.
Addressing the challenges of self-expression in conflict zones, Assil acknowledges the need for self-censorship for safety reasons. "Yes, self-censorship is sometimes necessary for safety. But I’ve learned to work around it—using symbolism, metaphor, and color to carry meaning without saying everything directly. That way, the message stays intact while I stay protected."
For artists and creatives who want to make political statements, Assil advises starting from a place of honesty. "You don’t need to shout to be heard—sometimes the quietest piece can spark the loudest change," she says. She emphasizes the importance of knowing one's risks, protecting oneself, and relying on community support. "Your voice matters, and your art can go places you might not expect."
For more information about the film War Paint – Women At War, please visit www.foxtrotfilms.com/films/war-paint-women-at-war/
