Saudi Arabia: A Melting Pot of Cultures and Stories? That’s the bold vision behind Shahad Ameen’s latest film, Hijra, a road movie that challenges stereotypes and dives deep into the lesser-known facets of Saudi society. But here’s where it gets controversial: while many associate Saudi Arabia with deserts and tradition, Ameen’s film reveals a country of breathtaking diversity—from icy mountainscapes to bustling urban centers. Could this be the film that redefines how the world sees Saudi Arabia?
Hijra, Saudi Arabia’s Academy Award submission and a standout at this week’s Red Sea Film Festival, follows the journey of Sitti (Khayriya Nazmi), a Saudi grandmother, and her granddaughters Janna (Lamar Faden) and Sarah (Raghad Bokhari), as they travel from Taif to Mecca for the sacred Hajj pilgrimage. Set in 2001, the film explores themes of immigration, generational bonds, and the country’s multicultural identity—a narrative Ameen describes as a ‘melting pot’ of cultures and experiences. Shot across stunning locations like Jeddah, Medina, AlUla, and Neom, the film is a visual feast that challenges preconceived notions about Saudi landscapes.
Ameen, whose feminist fable Scales made waves at Venice in 2019, initially struggled with the story’s direction. ‘I had this idea of a missing girl,’ she explains, ‘but the script felt childish, and I outgrew it.’ It wasn’t until a conversation with producer Mohamed Al-Daradji that the concept evolved. ‘He asked me, “Why keep focusing on patriarchal father stories? Why not a multi-generational tale centered on women?” And that’s how Hijra was reborn.’
The film’s personal roots run deep. Ameen’s own family history—her father’s side are fifth-generation immigrants from China—inspired the immigrant angle. ‘What if the missing girl is an immigrant?’ she wondered. This thread, combined with a pivotal scene from an earlier script involving pilgrims at a Mecca checkpoint, became the backbone of the story. ‘It’s about a girl trying to escape her grandmother for a new life,’ Ameen says. ‘But it’s also about the connections we forge along the way.’
And this is the part most people miss: the casting of Lamar Faden as Janna. Ameen first spotted Lamar at the Red Sea Festival when she was just nine. ‘I chased her down like a crazy person to get her sister’s number,’ Ameen laughs. ‘Years later, during casting, I knew she was perfect. Her talent is undeniable, but her mixed heritage—Pakistani, Indonesian, and Saudi—adds a layer of authenticity to the film’s themes of diversity.’
The opening scene is a masterclass in symbolism. Ice is scraped from a bus windshield as the camera introduces Sarah, cloaked in a white abaya. ‘Twenty years ago, women in Saudi were often unseen,’ Ameen explains. ‘The scene invites viewers to peek into their world gradually, to understand their dynamics and emotions.’
But why ice? ‘People think of Saudi as just desert,’ Ameen says. ‘But we have mountainous regions in the south and north where it gets cold enough for ice. I wanted to showcase this diversity—to challenge assumptions and present Saudi as a place of contrasts and coexistence.’
Hijra is a co-production involving A Beit Ameen, Iraqi Independent Film Center, Ideation Studios, and several other partners, each contributing to its ambitious scope. Yet, the film’s most powerful message lies in its portrayal of Saudi Arabia as a haven for Muslims from diverse backgrounds, living in peace and security.
Is Hijra a game-changer for Saudi cinema? Ameen hopes so. ‘We don’t have many films,’ she notes. ‘This is my chance to show Saudi in a very different light.’ But here’s the question: Can a film truly reshape global perceptions? And does Hijra go far enough in addressing the complexities of Saudi society? Let’s discuss—what do you think? Is Hijra a step forward, or does it still tiptoe around deeper issues? Share your thoughts in the comments!
