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Foreign Oscar Entry Review: Wadjda (وجدة‎)

Foreign Oscar Entry Review: Wadjda (وجدة‎)

Wadjda, Saudi Arabia’s Submission for the Academy Award Nomination for Best Foreign Language Film.  U.S.: Sony Pictures Classics.  International Sales Agent: The Match Factory.

Even before the film appears on the screen there is a sense of added importance that permeates it. Just on the ground that this is not only the first
ever feature film from a female Saudi Arabian director but also the first ever to be shot entirely inside the country, should makes this an event.
Movie theaters are banned in the Middle Eastern Kingdom, and women live under highly restricted circumstances that forbid them even from driving, such
facts make of Haifaa al-Mansour’s film a defiant move, even a political statement. But to judge a film solely on the politics that surrounded its
production would be unproductive; however, with a work like Wadjda that is not necessary since it shines on its own merits.

The title character, 10-year-old Wadjda (Waad Mohammed), seems unaffected by the cloud of machismo and Islamic limitations that cover her environment.
She attends an all-girls school, as mandated by the religious establishment, but that doesn’t prevent her from having a young male friend Abdullah
(Abdullrahman Algohani), whose bicycle becomes her object of desire. Not only does Wadjda need to figure out how to get the money for a bike, but also
how to go around the ingrained belief that girls should not ride them because they risk their sacred virginity. That is why a situation that could be
deemed a mundane premise in the Western world becomes a norm-challenging story, in which via the simplicity of a childhood desire other more profound
concerns about civil liberties for women are expressed.

Wearing purple sneakers, listening to rock bands on the radio,
and devising ingenious scams to achieve her goal, Wadjda separates
herself from the rest
of the girls. Her mother (Reem Abdullah) is conservative but
never fully oppressive, she understands the parameters by which they
must exist, but seems
to find hope in her daughter’s actions, and that is the true
spirit of the film, hopeful. Women must endure long drives to their
place of employment
and pay to be driven around to comply with the submission that
is expected from them, such lack of freedom of mobility reinforces the
significance for
a young girl to have access to a bicycle. Yet, for all the
support at home, Wadjda is faced with the realities of her gender at
school. Girls her age
are ready to be married off, little girls are guilt for standing
in the view field of men, and others are accused of indecent conduct
for holding

This is a hard world to live in for a girl who has not been
tainted with insecurity or self-pity, not once is Wadjda seen
surrendering her
individuality or giving in to what adults tell her is the right
place for a girl. Young Waad Mohammed infuses Wadjda with mischievous
quality. She is a rascal and a sweetheart at once, one that will
stop at nothing to get her cherished ride but who also feels utter love
and respect
for both of her parents, even if their relationship is doomed by
the common practice of polygamy. It is outstanding how Haifaa
al-Mansour was able to
conceive a fantastically multilayered screenplay that pushes the
boundaries of what femininity means not only in the extremely
traditional society of
Saudi Arabia but in the entire region.

Wadjda’s definitive plot to obtain the money she needs for her
bicycle, which has been on a sort of layaway system by the local toy
vendor, is to win
her school’s Quran reading and trivia contest. She is determined
to succeed and devotes her time to learning and practicing it,
certainly for her
ulterior motives, but nonetheless she learns, and she is
rewarded for it. That is probably the director’s biggest achievement, by
utilizing all burdens
and troubles not as fixed punishments but as obstacles to
overcome, she has made a film that speaks of woman in her country as
intelligent, ambitious,
and creative individuals who are not less virtuous in the
religious sense by being so. 

Review First Published on IonCinema

Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards

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