Opinión de Mehdi-Salehi

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.