SARA

 

Born and raised in Saudi Arabia, Sara Al Namlah started her artistic journey as a graduate of Visual Art & Printmaking from Princess Nourah Bint Ablurahman University, Sara further enriched her artistic perspective through studies in Creative Writing at Columbia University and Digital Editing at the New York Film Academy. Sara Al Namlah's art is an intricate blend of digital collages and photography, translating her poetry into visual narratives. Each piece reflects her emotions and captures moments that resonate with her deeply. Sara Al Namlah’s work is a homage to her roots and the rich tapestry of Saudi Arabian heritage.

Beeing critical of Saudi Arabia

Film criticism is the analysis and evaluation of films and the film medium. The concept is often used interchangeably with that of film reviews. A film review implies a recommendation aimed at consumers, however not all film criticism takes the form of reviews.

In general, film criticism can be divided into two categories: journalistic criticism which appears regularly in newspapers, magazines and other popular mass-media outlets; and academic criticism by film scholars who are informed by film theory and are published in academic journals. Academic film criticism rarely takes the form of a review; instead it is more likely to analyse the film and its place within the history of its genre, or the whole of film history.

From Saudi-Arabia Wadjda

Wadjda is the first film to have been entirely filmed within Saudi Arabia, by that country’s first female director, no less. It tells the story of this ten-year-old schoolgirl

Like one of the great Italian neorealist films, it centres on a child and a bicycle. All Wadjda wants is a bike so she can race against the little boy who lives next door, but her mother (Reem Abdullah) refuses to buy her one: in Saudi Arabia, little girls do not ride bicycles. After careful consideration of the matter Wadjda cannot see the logic in this, so she takes matters into her own hands and decides to raise the money for a bicycle herself.

Al Mansour reveals in the film’s production notes that she often had to direct from her production van via walkie-talkie when filming in more conservative areas, but Wadjda offers the hope that for the next generation of Saudi women, things might be different. Modest as it may look, this is boundary- pushing cinema in all the best ways, and what a thrill it is to hear those boundaries creak.