From rewatching videotapes of Mad Max 2 in Madinah until they practically fell apart to attending the world premiere of 2024’s Furiosa: A Mad Max Saga at Cannes Film Festival, where his own film, Norah, is listed in the same official selection, Tawfik Alzaidi’s life has changed somewhat.
His story of a teenage girl, played by fresh talent Maria Bahrawi, and how she is artistically ignited by a new teacher in her village, played by national star Yaqoub Alfarhan, also scooped the Film AlUla Award for best Saudi feature film at the Red Sea International Film Festival in 2023, when jury president Baz Luhrmann watched it twice, he loved it so much.
In this piece, Alzaidi explains how strong women of the desert inspire his work, why he thinks his debut movie so dramatically broke the mould for Saudi cinema, and why fledgling filmmakers should embrace being part of such a rare new wave of cinema.
What do you think was the secret to Norah's success?
I think Norah’s secret is that it’s a cinematic movie, by which I mean, one you should see in the cinema and not on the TV. I make films not just for watching but for creating a feeling. When people finished watching screenings of Norah, they told me: “Oh, it was like this French movie”, or “it was like an Iranian movie” or “a Turkish movie”. A lot of Saudi movies are like sketches on YouTube or TV movies. What we needed for the Kingdom was a project shot in cinematic language, because this is a language of the world; it’s the only language of the world.
What are you working on now?
Thuraya, which is my film, my story, and another film, which is not Arabic, that I have been approached to direct. Thuraya is a love story that I want to tell. Norah is a story about strongwomen; Thuraya is also about strong women, but 100 years ago. Because I love to create stories about women and deserts – my mother is from the desert. I'm not talking a lot to press about it just yet. Norah is independent and a little arthouse; Thuraya is not arthouse. It is more of a commercial production, made for a bigger audience; I want to make films that more people can watch and enjoy too. I'm thinking of shooting Thuraya in AlUla, as I did with Norah. I love AlUla, and now they’re building new studios too.
What would you like to see being achieved across Saudi's film industry?
We are new. We are not new in our love of cinema, because we have been watching films before cinemas opened [in 2018], but we are a new film making industry. Some countries have been making films for 100 years. I believe the film industry cannot be acquired – experience has to be gained by working with other producers. TV is easy and quick – some series are good and are on a cinematic level, but films are still different. You need belief in the story and the actor needs belief in it too. It’s not just a job. This is what I think we need for a healthy film industry: more experience and that innate passion.
What challenges persist for Saudi film makers?
Information about filmmaking comes from multiple sources now and it’s difficult to know what’s right or reliable. Everyone can go to YouTube and write “how to make films,” and you’ll see a lot of people telling you how, in different ways, and not giving necessarily the best advice. We need serious film makers, serious writers. Because this is what I call a serious industry. It is good, but it's very hard work, and the party comes after you finish the film, not before. Saudi is new and in a development phase, and I think it’s good for some of the filmmakers to use this and be part of a new wave, and go and make good films.
Photography of Tawfik: Osama Jaberti and Taha Kattan
Photography Assistant: Mohammad Kanafani
Creative Consultant: Ali Abdelhakim
