Melbourne IFF 2024: Norah (by Tawfik Alzaidi) | Review
The phrase ‘A Picture Speaks a Thousand Words’ encapsulates the bold mission in Norah, directed by Saudi filmmaker Tawfik Alzaidi, which won a Special Mention at Cannes’ Un Certain Regard.
Norah struggles to sleep that entire night. She peeks, stares, and eventually examines a portrait of her brother, Nayaf, which is prominently placed within her home. She seems immobilized by the exquisiteness of the art, feeling a unique connection that resonates deeply within her. At that moment, she decides to take a risk, despite knowing it could bring misfortune and pose a threat to the community.
Norah was selected for the Red Sea Film Festival in 2023, where it won the Best Saudi Film Award prior to its release at Cannes this year—a rare occurrence in the Cannes selection process. Eventually, the film was chosen for the Un Certain Regard section and went on to win the Special Mention award, reinforcing its reputation as a compelling film, which indeed it is.
Set in a Saudi Arabian village in the 1990s, the film explores a community bound by restrictions, one of which is a strict ban on all forms of drawing. Norah, an ardent fan of magazines that she secretly collects, immerses herself in the world of art to combat the monotony of village life. Soon after, Nader arrives as a teacher for young boys at the local school, bringing with him a passion for knowledge and a desire to inspire his students. He promises a gift to any student who excels in a quiz—a decision made to boost the students’ determination without much forethought. Nayaf ultimately earns this reward, and the entire class eagerly awaits the presentation of the gift. Nader, with a quick hand, sketches a portrait of Nayaf, leaving the students in awe. Back home, Norah sees the portrait as a divine revelation.
Norah bravely delves into the power of art, emphasizing the importance of sustaining artistic skills and viewing the beauty of art from an enlightening perspective. The desolate atmosphere, with its dry, sandy air and oppressive heat, mirrors the lifeless pace of the people, who seem devoid of encouragement and desperately in need of a fresh start. Norah is ultimately drawn to Nader’s skills, seeing in him a source of admiration that transforms into appreciation, fostering the courage and hope to overcome her internal resistance. Nader represents a revolution, a landmark for the younger generation to cultivate their artistic knowledge. The connection between Norah and Nader becomes a pivotal point in the story, leaning more toward poetic and philosophical discussion than emotional attraction. This shift is reminiscent of Ugyen Dorji’s uplifting experience as a teacher in Lunana: A Yak in the Classroom. Nader’s phrase, “Some see the dark, others see the light,” carries profound meaning in this context. On a closer view, Norah’s loneliness drives her toward mature conversations, where she desires to see the world differently, much like appreciating the intricacies of artwork from a new perspective.
Tawfik Alzaidi highlights the constraints on women’s freedom in this context, where they are controlled by a system that rarely leads to positive transformation. The plot, told in a passive manner, reflects the modest dreams and ambitions of women striving to achieve professional goals, yet for some, it remains an impossible dream. The lack of representation of women in schools, where they are primarily seen as wives and mothers, raises questions about the purpose of certain laws. The biases and repercussions of these laws create a challenging environment, more like a textbook life for women of all ages. The symbolic representation of an overturned car in the middle of the village stands out as a metaphor, emphasizing the severity of stagnation and underdevelopment.
Perhaps Norah uses the magazines she collects as a means to find answers, cultivating her desires for self-love and care. Norah, slated under the Africa and Middle East Section at Melbourne International Film Festival (MIFF) 2024, is a moving portrait of revolution, a harbinger of hope for the future as a positive disruptor of discriminatory structures. The film contrasts modernity and openness with traditional and religious constraints, paving the way toward self-assurance and acceptance. Despite the inclusion of a virtuous and warm surprise at the climax, which blends in slowly and absorbingly, the phrase “Dreams are the worst thing in the world” resonates as a harrowing plea to save oppressed women, no matter the location or time—a voice that still echoes today.
Norah is currently showcased at the Melbourne International Film Festival 2024 whose programming team also selected Armand, Motel Destino, La Cocina and Simon of the Mountain, among others.
