This paper discusses Manijeh Hekmat’s first film Women’s Prison (2002) and how it is an unofficial adaptation of the work The Wall(1983) by Yilmaz Guney, and how the political climate of Turkey and Iran, respectively are represented in these films. There are many instances in which Women’s Prison reminds the audience of The Wall (Duvar)(1983), the masterpiece by Guney made nearly twenty years earlier. Aside from the similarities in the themes between The Wall and Women’s Prison films, one can argue that Women’s Prison is an unofficial sequel to—or, perhaps an adaptation of The Wall. Although Hekmat never admitted to referencing Guney’s film, the connections are evident. One reason for not addressing Guney could be the political aspect of Guney’s life. The Wall was banned in Turkey for seventeen years, and this detail could have caused Hekmat’s film to face more obstacles than it already had. In Guney’s film, the harsh conditions of the prison force the Turkish teenagers to revolt against the violent guards. Consequently, Women’s Prison starts with the revolt having already taken place. A prison is depicted in The Wall with the same storylines as Women’s Prison with an all-women’s prison and cast. Guney comments on rape and assault in the prison with the difference that the rapist in Guney’s prison is one of the guards. Hekmat in this sense is careful not to provoke any sensitivity from the Islamic Republic which would have resulted in her film being banned. Therefore, the rapist in Women’s Prison is one of the inmates. As mentioned by Zeynabadi-Nejad, considering the prison a metaphor for Iran, if the rapist is one of the inmates, then that means she was a member of the society and not one of the authorities because of the way that the film has separated arranged the authorities from the rest of the society.