Muhammad's marriages frame this film's argument about Islam and gender: first to Khadija, a Meccan merchant fifteen years his senior who proposed to him, taught him to pray, and is remembered as the first Muslim, and later, after her death at sixty-five, to Aisha, the wife he remained most devoted to once he had moved to Medina and taken multiple wives. Historians and theologians, including co-writer Malek Chebel, trace how these relationships shaped Muhammad's stated views on women, citing his writings on mutual sexual pleasure as evidence against the austere image promoted by hard-line clerics today. Director Lila Salmi builds the case for what the film calls an enlightened reading of early Islamic texts, one that treats desire and tenderness as compatible with faith rather than opposed to it. The film also acknowledges the resistance this reading met among Muhammad's contemporaries and notes its echo in conservative currents of contemporary Islam, setting a seventh-century marriage and household against present-day arguments over women's place in the religion.