Skip to main content

Haifaa Al-Mansour: 'Female leaders are crushed. Look at Hillary Clinton'

The Saudi Arabian director directed her first film, Wadjda, hiding in the back of a van on the streets of Riyadh. Now her latest, The Perfect Candidate, is opening doors in Hollywood

Haifaa Al-Mansour’s latest film, The Perfect Candidate, opens with a doctor in her 20s driving to work. In any other film you wouldn’t register the fact that she’s behind the wheel. But this woman, dressed in a black abaya and niqab, is in Saudi Arabia, which until 2018 banned women from driving. Al-Mansour added the scene as a punch-the-air moment for female audiences in Saudi Arabia, an invite to a collective whoop of victory. “I know that in the west this seems like common-sense stuff,” she says. “But I think they’ve really helped women to see themselves as an independent people.” She fixes me with an earnest look, to see if I get it. “For younger professional women, it’s huge, because it gives them control over their destiny.”

Al-Mansour is Saudi Arabia’s first female director. In 2011, she shot her debut, Wadjda, hiding in the back of a van. It would have been impossible for a woman to be seen openly on the street giving orders to men. So, she kept out of sight and used a walkie-talkie (“But I’m sure you could hear my voice all over Riyadh. ‘Do that!’ ‘Pull the camera back!’”) The film was gorgeous, a funny, big-hearted story about a gobby 10-year-old girl who would stop at nothing to get her hands on a bike. Al-Mansour shrugged off the death threats (“One of them told me they had a coffin ready for me”). Spend five minutes in her company and you are struck by her optimistic energy.

Continue reading...

from Culture | The Guardian https://ift.tt/2QKpbrw
Labels:

Comments

Post a Comment

Popular posts from this blog

One giant leap: meet the new generation of male ballet stars

Beauty, strength and bags of energy: BBC Four’s Men at the Barre documentary gets up close and personal with the Royal Ballet dancers on the rise ‘It’s a golden era of male ballet dancers.” So says Emma Cahusac, the commissioning editor behind a new documentary, Men at the Barre, part of BBC Four’s dance season. It’s not just hyperbole. The young men rising up at the Royal Ballet are some of the most exciting in dance right now: principals Matthew Ball and Marcelino Sambé, first soloists Cesar Corrales and William Bracewell, and first artist Joseph Sissens all feature in Men at the Barre. With the majority of them British or UK-trained, it’s a giant leap from the grumblings of a decade ago about the lack of local dancers making it to the top. I spoke to Ball, Corrales and Sambé by phone, all staying resolutely positive during this enforced break from their intensive dancing lives, but all desperate to get back to work with colleagues they’re certain are something special. “I see so m...
Post a Comment
Read more

Dita Von Teese: ‘Even when I was a bondage model, I had big-time boundaries’

As the star dives into a giant glass of fizz for her first online extravaganza, she talks about this new golden age for burlesque, why the French Strictly gives her costume problems – and how #MeToo has changed her Dita Von Teese is looking divine. Her lips are that signature red, she’s wearing 1950s cat eye glasses, and her black hair falls in a thick wave across a Snow White skin – and all this on the unglamorous stage of a glitchy Zoom call. Only knowing Von Teese from her femme fatale image, her teasingly aloof burlesque performances, and her time in the tabloids as former wife of goth rocker Marilyn Manson , you might expect an icy demeanour, an impermeable mystique. So it’s surprising to discover quite how normal she is: chatty, self-deprecating, not very vampish. It’s easy to see traces of Heather Sweet, the “super shy” girl from small-town Michigan who transformed into Von Teese. The reason for our conversation is a new film, Night of the Teese, made with director Quinn Wils...
Post a Comment
Read more