Wadjda is a young girl who wants to do her own things, her own way, and at her own time. She wants a green bicycle, so she can race with the boys of the neighborhood. ‘What’s so great about it?’ you might ask. But she is living in Saudi Arabia, where women are not allowed to bicycle around which is considered immodest.
In her spirit of independence, she decides to generate the money by herself and eventually decides to take part in a Quran reciting competition in her school that has a prize money just enough for the bicycle. The bicycle is symbolic of freedom and angst.
Wadjda is the name of the film – the first feature film ever to be entirely shot in Saudi Arabia and directed by a woman, Haifaa-al-Mansour. It is groundbreaking as it gives voice to a people who are silenced and censored. The film explores the problems of patriarchy, polygamy, the status of women as mere properties and the question of love in this muddle of suppression.
Another aspect this film brings to light is how it is often women themselves, who are the greatest upholders and propagators of patriarchy and suppression. Wadjda’s school teachers and principal are staunch and strict about what constitutes female modesty and indecency. They encourage child marriage and resort to harsh public punishments for girls who are seen with boys or even trivial things like applying nail polish or reading a fashion magazine.
Al- Mansour tells us a heartwarming tale of a young girl, but beneath this lies the crimes of moral policing and religious fundamentalism, that has always picked its all-time easy victims-women.
The relationship of Wadjda and her mother is representative of the everyday struggles and strife of women living in Saudi Arabia. We can view the stark distinction of their lives within the four walls and outside. In her room, Wadjda is like any other girl in the world. She loves her pop music, loves making mix tapes and despite being admonished loves wearing her converse shoes. But stepping outside means being covered, not being allowed to ride a bicycle on the streets or talk to anyone of the opposite sex. In fact, in Saudi Arabia it is mandatory for all women to have a male chaperone at all times.
The relationship between Wadjda’s parents talks a great deal about the practice of marriage in the Middle East. The father visits them occasionally and throughout is searching for another wife because Wadjda’s mother was unable to provide him with a son. The epitome of womanhood is the birth of a son, beyond that her body is of no use. The film depicts the struggle of the mother who dreams of a monogamous love with her husband, only to watch him take a new younger wife.
But above anything Al-Mansour explores the promise of hope and change. The hope lies in the young that are yet to internalize societal norms and expectations. She explores this central theme of the film by using the relationship between two young friends, Wadjda and Abdullah. Their zeal and spirit has the capacity to influence the most hardened form of fundamentalism.