Inshallah walad

Anchored by a strong central performance from its leading lady, Inshallah a Boy is an indictment of Jordan's absurd patriarchal norms & religious laws and demonstrates the utter ridiculousness of it all through its story of a recently widowed woman who's forced to navigate the bureaucratic maze that's designed & exists to ensure the subjugation & oppression of the nation's womenfolk.

Directed by Amjad Al Rasheed in his directorial debut, the story covers the never-ending ordeal of our protagonist that begins when a relative tries to exploit the country's inheritance laws to lay claim on her house & custody of her daughter in the wake of her husband's death. Pushed into a corner with not many viable options at her disposal, she makes up a lie that quickly spirals out of control.

The drama is gripping for the most part despite the predictable route it takes and the subplots only lend more weight to the critique. However, what keeps us invested in the journey is Mouna Hawa's emotionally draining act that aptly articulates her character's frustration, suffocation, isolation & agony over the injustice of it all while she's helpless. And the patriarchal mindset is also reflected in how her brother treats her.

Overall, Inshallah a Boy is competently crafted & skilfully narrated but it's the performances that do the heavy lifting here and steer the film past the finish line. A more compact structure, tighter editing & better pace may have benefitted the whole proceedings but what it has in store still makes for a thrilling & heartbreaking story that's worth a shot. One of the better films of its year, this is an impressive first feature from the debutant filmmaker.

"Inshallah a Boy" portrays a poignant and challenging narrative, shedding light on the struggles faced by women in a religious (islamic) society. The director's choice to handle sensitive scenes with subtlety while addressing societal norms and gender biases adds depth to the storytelling. The title itself hints at the societal expectations and challenges faced by women. How did the film leave you feeling about the theocratic regimes? Do you think the religions are designed to control the minds? Who does benefit from the existence of a superpower? And who has been exploited? How the western governments are in peace with the governments violating human and women rights? How come the people in the western world don't care about the genocide in Palestine and the catastrophes happening in a lot of countries such as in Iran, Afghanistan, and Iraq.

Wow... what did i just see ??? Goodness me... what an amazing movie , what an amazing story telling , writing , acting , directing... there is nothing , not even one thing wrong about this film. These are everyday people , this is an everyday story , this is real art , this is real acting. Nawal ( Mouna Hawa ) is such a beautiful woman and a fantastic actress. Some may think this is a very slow moving film or boring etc. However , for someone who was born and raised in that region ; i can assure you that these type of deals are part of daily , regular life and again this is the real life , real people real drama at its best...

A compelling and emotionally charged film that fearlessly addresses critical issues facing women in relation to inequality, inheritance laws, and gender relations. It delves deep into the heart of societal norms and cultural expectations, shedding light on the struggles and resilience of women facing these challenges. The cinematography is nothing short of amazing. It is a touching masterpiece that not only educates but also inspires. It challenges viewers to confront deeply rooted inequalities and question established norms. This movie stands as a testament to the power of cinema in addressing important societal issues and delivering a profound impact.

Mehdi Salehi Cinema Critic The film "Insha Allah, a Boy," directed by Amjad Al-Rasheed, is not only a cinematic work, but also a social statement that has transcended the boundaries of Jordanian cinema. The film, which was accepted as the first Jordanian film in history at the Cannes Film Festival, tells the story of Nawal, a widow who, after the sudden death of her husband, is embroiled in an unequal battle with her brother-in-law and Jordan's patriarchal legal system.

In her first directorial experience, Al-Rasheed, inspired by personal experiences and the story of one of her relatives, has created a work that is equal to the works of experienced directors in terms of depth of content and power of execution. During the research and production process, she spoke to many women to gain a deeper understanding of the problems of women in Jordanian society, and this attention to detail and social realities has given the film depth and credibility.

The screenplay, co-written by Al-Rasheed with Delphine Agot and Rola Nasser, presents a multi-layered, character-driven narrative. The story not only deals with the central issue of Nawal's struggle to maintain ownership of her home after her husband's death, but also explores other social issues, including social class, family relationships, and social pressures. This delicate balance between the personal and the political is one of the film's main strengths.

Aesthetically, Al-Rasheed takes a realistic and detailed approach. The use of limited and compact framing effectively conveys the main character's sense of being confined within the social system. The emphasis on silence and long shots of Nawal's face allow the viewer to connect more deeply with the character's inner feelings. The set and costume design are also carefully chosen to reflect the characters' class and cultural differences.

Mona Hawa's performance as Nawal is one of the most brilliant performances in Jordanian cinema in recent years. By relying on body language, meaningful glances, and meaningful silences, he has been able to portray the different dimensions of Nawal's character with remarkable delicacy and depth. The scenes where Nawal silently struggles with herself or reacts with her gaze are some of the most memorable moments in the film.

The film is also rich in symbolism. The cracked mirror in Nawal's house is a symbol of her broken identity and shattered image. The bra that falls from the clothesline in the opening scene and is picked up by a stranger symbolizes the violation of privacy in Jordan's patriarchal society. Nawal's deceased husband's pickup truck symbolizes mobility and independence, and the rats seen in the house symbolize the threat and fear that constantly affect her life.

"Inshallah, a Boy" is strongly influenced by the school of feminism and deals with concepts such as women's independence, resistance to patriarchy, and the search for identity in a patriarchal society. The film addresses the issue of unjust laws in Arab societies and shows how these laws marginalize women and deprive them of their basic rights.

This work is considered a revolution in Jordanian cinema. Not only was it accepted as the first Jordanian film at the Cannes Film Festival, but it also dared to address taboo topics in Arab society.

Although the film overdoes some symbolism, for example, all the men shown have moral and spiritual problems, even Hassan, who apparently wants to help Nawal, but in fact has fallen in love with a married woman, or the dirty and garbage-filled streets symbolize the primitive lifestyle of the people of the Middle East, and these themes and exaggerations have led to the admiration of Western critics and its acceptance at the Cannes Film Festival.

Overall, this work increases hope for the future of Jordanian cinema and shows that cinema can be a powerful tool to challenge social norms and create change.