Lilian T. Mehrel's first film as a director, Honeyjoon, centers on a Persian mother named Lela and her American daughter June as they travel to Portugal's Azores islands. The two women go there one year after the death of Lela's husband and June's father to scatter his ashes and mark the anniversary of his passing. The story unfolds in a honeymoon suite where their different ways of handling grief lead to tension but also a slow reconnection.
Background
The film draws from real family dynamics in the Iranian diaspora. Lela, played by Amira Casar, comes from a Persian-Kurdish background. Her husband had visited the Azores years earlier while grieving his own father's death from cancer. He always talked about taking Lela there someday, but he passed away from cancer before they could go. Now, Lela and June make the trip in his place.
June, portrayed by Ayden Mayeri, finished at the top of her medical school class but left her residency program recently. She sees the vacation as a chance to shake off her sadness and feel alive again. Lela wants quiet time to mourn and adjust to life without her husband. Their plans clash from the start. June packs revealing clothes and small bikinis, while Lela covers up and fusses over June's outfits.
The Azores provide the setting, with its green hills, twin-colored lakes, and ocean views. The women stay in a hotel where other guests notice their story. Lela scrolls through news about protests in Iran, including the Woman, Life, Freedom movement. This adds layers to her worry about life back home and her place in it.
Mehrel wrote and directed the film, bringing a personal touch to the characters. She fills the script with small details that make Lela and June feel real. They argue about social issues, phone use, and how to dress. Lela tries to drape a shawl over June's shoulders, even as hotel staff pay more attention to Lela.
Key Details
The plot picks up when June books a private tour with a local guide named João, played by José Condessa. He leads them around the islands, showing viewpoints and trails. At first, June flirts with him, hoping for romance. Lela joins in, but her focus stays on memories of her husband.
João turns out to be more than a guide. He shares thoughts on life and loss, saying things that hit home for both women. One line stands out when June comments on how he meets new people every day. He replies that every day brings a new goodbye.
"Every day is a new goodbye." – João, the tour guide
This moment shifts things. The women start to see they need each other more than anything else. June realizes her push for fun masks deeper pain. Lela opens up about feeling lost without her husband. Scenes show Lela wrapping herself in jackets, as if holding onto him. One night, she asks June to hold her from behind as they fall asleep.
Performances and Style
Ayden Mayeri brings June to life with humor, sex appeal, and quiet hurt. She shows June's feelings through looks and pauses, even when words fail. Amira Casar gives Lela a sharp edge mixed with softness. Her small gestures, like a head tilt, change the mood of scenes. José Condessa makes João warm and wise, with his own hints of loneliness.
The camera work by Inés Gowland captures the islands' beauty without overdoing it. Shots match the women's moods, like fog hiding the lakes or a storm bringing clarity. The film mixes laughs and tears, with banter that feels like real family talk.
The story touches on bigger themes. It shows sexual restraint, emotional blocks, and how culture shapes grief from afar. References to Iran's protests come up in talks between mother and daughter, highlighting their different views on freedom and change.
What This Means
Honeyjoon highlights how grief looks different for everyone. June seeks connection through others, while Lela pulls inward. Their trip forces them to meet in the middle. By the end, they scatter the ashes and find a new closeness.
The film screened at the Tribeca Film Festival in 2025 and appeared at the Palm Springs International Film Festival on January 11, 2026. Viewers see a realistic take on mother-daughter bonds, full of friction but no real fights. It avoids easy fixes, letting small moments build to change.
For Iranian families living abroad, the movie reflects split lives. Lela carries worries from Iran, while June navigates American freedom. João's role shows how outsiders can help healing without taking center stage.
Mehrel's work sets her up as a director to watch. She balances tones well in her debut, using 90 minutes to cover loss, growth, and family ties. The story reminds people that healing often comes from those closest, even when it takes a trip to see it.
Audiences leave with thoughts on their own losses. The film does not preach but shows paths through pain. It points to the value of shared time, even in mismatch. As festivals continue, Honeyjoon stands out for its honest look at human ties in tough times.
