Trailblazing Director Haifaa Al Mansour’s Impact on Saudi Cinema

Trailblazing Saudi Arabian director Haifaa Al Mansour has traveled a remarkable path from covertly directing her groundbreaking 2012 drama ‘Wadjda,’ the first movie filmed in Saudi Arabia during a period when filmmaking was deemed illicit. With the revocation of the ban in 2017, her homeland has also journeyed long. Since ‘Wadjda,’ Al Mansour splits her time between Los Angeles and Saudi Arabia, has directed two Hollywood movies including ‘Mary Shelley,’ featuring Elle Fanning, and the romantic comedy ‘Nappily Ever After.’ In addition, she has directed a number of episodes for top US TV shows, including ‘Fear the Walking Dead.’

In her homeland, Al Mansour has additionally crafted two more films. Initially, the 2019 poignant comedy-drama ‘The Perfect Candidate,’ revolving around a young female doctor who navigates a male-dominated society to participate in city elections. More recently, she unveiled her brand-new movie ‘Unidentified,’ a suspenseful narrative concerning the finding of a lifeless teenage girl’s body in a desert. When the body remains unclaimed, Noelle Al Saffan, a recently divorced avid fan of true crime who has suffered the loss of her own child, becomes intensely involved.

The fully Saudi-financed ‘Unidentified’ debuted at the Toronto Film Festival and is set to be released in the U.S. through Sony Pictures Classics. However, what truly counts for Al Mansour is the film’s reception by Saudi viewers. The film marks the third installment in a trilogy focusing on women asserting their rights in Saudi society.

Al Mansour’s gravitation toward this specific narratve and the thriller genre is underpinned by a belief in the necessity of evolving beyond Middle Eastern films that are solely political or social commentaries. Given the volatility of the region, she appreciates the need to convey captivating and enjoyable stories, while maintaining their relevance. In this instance, Al Mansour aspired to detail the complexities of a culture where gender bias and violence against women are widespread, and where the murder of a woman is often overlooked.

Desiring to challenge traditional narratives, Al Mansour sought to portray women as nuanced, multifaceted characters, rather than solely singular dimensional ones. Through the medium of an engaging film genre, she aimed to highlight violence against women in an atmosphere that is equally entertaining.

Elaborating on the importance of representing more sophisticated Saudi women on the screen, Al Mansour asserts that women in the Middle East possess significant influence and resilience, despite the systemic barriers they constantly confront. In turn, she wanted to illustrate the frustrations and feelings of insignificance experienced by these women, and how this can lead to a sense of marginalization.

Furthermore, Al Mansour wanted to present a more rounded image of Saudi women, demonstrating that they can have their moral failings just like anyone else, countering the ‘innocent angels’ stereotype. The journey of these female characters through Al Mansour’s trilogy is indeed quite telling. From the young girl in ‘Wadjda’ who was prohibited from bicycling, to women driving cars in ‘Unidentified’ and the main character taking on a police investigation against norms and expectations.

Discussing the transformation of life for women in Saudi Arabia, Al Mansour strongly agrees that progress has been made. Comparatively, from the time of her first movie ‘Wadjda,’ where she personally struggled to film openly among men due to the segregated society norms, the landscape has greatly evolved. More so in the professional sphere, enhancing acceptability and inclusivity for women, as demonstrated by Noelle’s aspiration to become a police officer in the film, reflecting the opening up of police duties to women.

Observing the rapid rate of societal change, Al Mansour feels that Saudi Arabia is leapfrogging even countries like Egypt in affording more liberties to women. However, she also recognizes the ongoing need for societal adjustment to ensure equal status and treatment for men and women – an issue not confined to Saudi Arabia, but pervasive across the Middle East.

In ‘Unidentified,’ the protagonist Noelle is a major admirer of a female Saudi influencer known for her unique video content, which combines makeup tutorials with crime reconstructions; a popular genre worldwide. Al Mansour mentions how social media, particularly in conservative societies like Saudi Arabia, can become a positive tool for social connection and societal change.

Unlike ‘Wadjda’ and ‘The Perfect Candidate,’ which were co-financed with Germany, ‘Unidentified’ has been completely financed within Saudi Arabia. Al Mansour views this as crucial for Saudi artists, as it signifies the evolution of local art, despite the added pressure it carries for successful delivery.

Gradually, the necessary infrastructure, talent, and crew to develop a local industry are coming into place. Al Mansour expresses her profound pride for Saudi Arabia’s efforts in bolstering artists and their work, which signifies an encouraging future for the sector in the country.