‘Norah’ Review: A Striking Debut About Artistic Repression in ’90s Saudi Arabia
27.05.2024 - 17:51
/ variety.com
Siddhant Adlakha The first Saudi Arabian film ever selected for Cannes, the tender rural drama “Norah” is writer-director Tawfik Alzaidi‘s first feature film. The story of a schoolteacher tasked with introducing literacy to an isolated village and his unlikely relationship with a precocious young girl, the movie suffers from a few early-career filmmaking tics, which prevent all its pieces from all neatly fitting together.
However, it’s also underscored by the kind of optimism and poetry about art that one often finds in novice works from directors destined to make more polished and accomplished films (if perhaps more cynical ones). Alzaidi has that potential in spades, as “Norah” is a self-reflexive testament to the deep and profound need for artistic expression.
Set in 1996, years before cinema and other art forms were reintroduced to the Saudi mainstream, the film follows orphaned teenager Norah (Maria Bahrawi), who lives with her aunt’s family in a scant desert village with strict, God-fearing rules about gender separation and the impermissibility of art. However, using a local shopkeeper as a backchannel, she has glossy magazines smuggled in from nearby cities, which allow her to dote over the distant worlds of fashion, gossip, cinema and celebrity — wishes from afar.
However, these possibilities no longer feel so far out of reach when the relatively progressive Nader (Yaqoub Afarhan) is sent on a hapless government assignment to teach the local boys a curriculum beyond the Quran. The film bides its time with a slow-but-steady introduction to his painstaking process of teaching adolescents to read and write for the very first time.
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