When celebrated Saudi filmmaker Haifaa Al Mansour burst onto the cinematic scene with her inaugural feature, Wadjda, she became the first woman from Saudi Arabia to direct a full-length film. Under unique constraints, she communicated with her actors and crew exclusively through walkie-talkies, highlighting the challenges women faced in the industry during that period.
Overcoming Barriers in Filmmaking
In an interview at the Tribeca Festival, Al Mansour reflected on her experience while directing Wadjda, where strict gender segregation made direct interaction with her cast challenging. “The country was segregated, so I wasn’t able to be with the actors. That was very limiting for me as a first-time director,” she shared. Fast forward to her latest film, Unidentified, a crime thriller that premiered at the Toronto International Film Festival, and is now set for a wider release by Sony Pictures Classics.
Al Mansour’s groundbreaking work with Wadjda produced a compelling story about a spirited 10-year-old girl in Saudi Arabia who longs to ride a bicycle—a symbol of freedom and agency. The film was not only a significant artistic achievement but also a cultural milestone, marking the first Oscar submission from Saudi Arabia and earning a BAFTA nomination for Best Film Not in the English Language. It established a loose trilogy focusing on women who defy societal norms and claim their own agency.
Shifting Landscapes in Saudi Cinema
Her subsequent film, The Perfect Candidate (2019), presented a narrative about a young female doctor facing systemic obstacles in her pursuit of basic rights, such as attending a conference without a male guardian’s permission. In this film, her character inadvertently steps into the political arena, using her candidacy as an opportunity to advocate for a road repair in front of her clinic. This film also marked a significant departure from Al Mansour’s earlier experiences, as it received support from the newly formed Saudi Film Council.
The current project, Unidentified, signifies a notable evolution in the Saudi film industry, as it was completely funded locally. “It’s amazing to see how much it’s evolved,” Al Mansour stated, emphasizing the empowerment this has provided to local artists. The lifting of a 35-year ban on movie theaters in Saudi Arabia in 2017 has spurred an ambitious initiative to cultivate a homegrown film industry, despite existing challenges such as geographical distance and regional conflicts.
The Future of Film in Saudi Arabia
Recently announced at the Cannes Film Festival, Saudi officials unveiled plans to increase incentives for international productions by offering a 60% rebate for eligible local spending. This initiative aims to foster expertise within the Kingdom while enabling upcoming talent to gain firsthand experience in film production, an opportunity that has historically been limited. Al Mansour expressed hope that this move will expose younger generations to the nuances and intricacies of filmmaking in an evolving industry.
Her advocacy for women in filmmaking is visible through her work, which includes films such as Mary Shelley, along with various shorts and documentaries. “It’s nice to see women having a space, especially in a very male-dominated society, having a space to tell their stories,” she noted. The themes of her films—centering on complex female characters—challenge the conventional portrayal of women in society and represent the emerging narratives in Saudi cinema.
In Unidentified, the story revolves around Noelle Al Saffan, a recently divorced true crime enthusiast who becomes embroiled in a mysterious case of a teenage girl found dead in the desert. Through her relentless pursuit of the truth amid societal constraints, the film mirrors the ongoing transformation within Saudi society, where women are increasingly seeking to carve out their own identities and control over their destinies. Al Mansour believes that highlighting the complexities of women’s lives is crucial in a landscape where their stories are too often simplified.