Haifaa Al Mansour is considered the first female filmmaker in Saudi Arabia and her feature film “Wadjda” was the first feature ever to be shot entirely inside the Kingdom of Saudi Arabia. Invited to over 40 festivals worldwide, “Wadjda” garnered numerous awards in Venice, Rotterdam, and Dubai, among other fests. Al Mansour’s other credits include “Mary Shelley” and “Nappily Ever After.”

“The Perfect Candidate” premiered at the 2019 BFI London Film Festival on October 7.

W&H: Describe the film for us in your own words.

HAM: My film tells the story of an ordinary Saudi woman, a doctor by profession, who is pushed to run for political office because of the way the society limits her ability to do her job. The restrictions that keep her from performing her work in the ways that would best benefit the society frustrate her and force her to think outside the box.

She is not a rebel for the sake of rebellion — she is someone that knows that her work can make the country a better place and simply wants to remove the barriers that keep her from accomplishing her mission. I strongly believe that this is the way that true change comes to a society, through hardworking people who simply want to be able to reach their highest potential.

W&H: What drew you to this story?

HAM: There are incredible changes taking place right now at home in Saudi Arabia, and I felt like I really wanted to contribute to the positive changes taking place there. We went through such a long period of time where nothing changed, where it seemed like even the slightest openings or relaxations of the cultural restraints we lived under seemed impossible — especially when it came to the lives of women. But now the pace of change is so fast that it is hard to keep up with, and the challenge now is to encourage people to go out and make the most of the opportunities they have, especially for women. It will take a huge shift in thinking to fully understand and embrace the freedoms they now have the chance to explore.

So, I really wanted to tell a story about a culturally conservative, traditional woman who decides to embrace these changes and go out there and seize the moment. The reality of her journey is that it will be difficult, and lots of people will be critical of her choices, but it will ultimately open up a whole new world for her. I want to stress to the women of Saudi Arabia how important it is to go out there and take a chance, even if you don’t have any experience in doing so. It is still hard for Saudi women to put themselves out there, and they are nervous about doing things they haven’t done before like driving, traveling, or uncovering their faces.

I also wanted to take a moment to celebrate the strong artistic and cultural legacy of Saudi Arabia and tell a story that stresses how important it is that we build upon those traditions as the foundation for our societies’ development. So much of our music, theater, stories, and all forms of artistic expression were almost erased from our culture entirely, so I felt like we needed a story that reminded people of the strong artistic traditions we have, and how they can help us as we move forward into an exciting future.

W&H: What do you want people to think about when they are leaving the theater?

HAM: Even with “Wadjda,” I heard from a lot of foreign audiences that were surprised by how strong and sassy Saudi women actually are. There is this perception that we are weak and shy and afraid of the world, and that we are just victims resigned to the limited, restrictive circumstances of our culture. It is so not true! Saudi women are so tough, feisty, funny, and way more savvy than most people realize.

I hope this film further captures the fire and bravery of women from my country. Telling their stories is the honor and privilege of my life.

I also hope it triggers a discussion about the best ways to promote change within a society. There are some who believe that radical, violent upheaval is the only way to bring about revolutionary changes to a culture. I believe that real change comes from small, incremental changes that build a foundation for art and cultural openings to emerge through hard work and dedication. As I see people digging into their positions and becoming less tolerant of others all around the world, I think it is a very important discussion to have at this time.

W&H: What was the biggest challenge in making the film?

HAM: First of all, the changes that have taken place since I made my last film in Saudi Arabia are extraordinary. It was incredibly difficult to make a film in 2011, and people were still very hesitant to embrace any public form of artistic expression. Film was seen as especially taboo, and the idea of opening theaters had become a red line that most of us thought would never be crossed. Of course now everything is different, and we have cinemas going up all across the Kingdom.

But the larger issue of a lack of infrastructure in the film industry remains. We have a lot of work to do in building up the tools and resources necessary to make quality films. We don’t have many people with experience in the field yet, so putting together a crew and getting the right equipment is very difficult. Getting the proper training and education necessary to help craft and shape our stories is another key area that we need to develop. It is still a very challenging place to work, and a very closed, insular society, so it was a tough but worthwhile journey.

W&H: How did you get your film funded? Share some insights into how you got the film made.

HAM: The film is a co-production between Saudi Arabia and Germany. I feel like it is very important to bring in the expertise and experience of key crew members from Europe to help us build our own internal film industry. We don’t have enough experienced people — or equipment — so that is an obvious reason to reach out to outside partners. But we also want the film to travel outside of the region, so these partnerships also help the film find audiences in Europe and beyond, as those territories prioritize films with regional support in their theatrical slates.

I encourage all filmmakers to consider this approach when they are packaging their film and bringing all of their partnerships into place.

W&H: What inspired you to become a filmmaker?

HAM: My journey as a filmmaker began after college. I was working for an oil company in Saudi and I felt invisible. I would try to speak up in meetings and my male colleagues would completely ignore me. I felt frustrated and alone, so I started making short films as an outlet, as a way for my voice to be heard. It was a hobby, more than anything else, but it gave me such satisfaction in the art of creation. And I submitted it to all the regional film festivals and I was shocked that one actually invited me. They were the ones that said, “Did you know you are the first female filmmaker from Saudi Arabia?” That was really something to hear, and such a motivator for me to keep going in the field.

When I made my documentary “Women Without Shadows,” which is a very simple film — just me and a camera — I realized the true power of film, and the challenges that it can cause you as a filmmaker. I interviewed a very famous Sheikh, a religious figure that appears on TV to give people advice, and I got him on camera admitting that women don’t have to cover their face in Islam, and that there is nothing in the religious texts that requires it. This is really revolutionary stuff for Saudi Arabia, so when I released the film people went crazy.

The religious establishment forced him to publicly recant his statements and he said that I had manipulated his comments. I was getting death threats. People were so upset. But it showed me that film could truly spark the conversations we as a society need to have to move forward.

W&H: What’s the best and worst advice you’ve received?

HAM: The best advice I ever got was from my father, who told me to believe in myself and never let anyone limit my belief of what I can achieve. He was from one of the most conservative places in Saudi Arabia, a small village in the heart of the Nejd, but he left to study in Egypt in the ’50s and went on to become a fairly well-known poet in the Kingdom. He never listened to anyone or compromised when it came to his daughters’ freedom. He used to get letters from our extended family, his friends, his colleagues, and the Imam of the mosque in front of our house asking him to get me under control and put a stop to my career as a filmmaker — this, by the way, was the worst advice I ever received. But he was so proud and never cared.

I feel really blessed that my father was not only liberal and encouraged me to follow my dreams, but that my mother was such a strong person and didn’t care about what other people thought. Most Saudis have this real, legitimate fear of being labeled as “different” or outside of the system, but my mother and father didn’t care. I think it was hard for some of my siblings, especially my brothers, to be sort of known as outsiders in the community, partly because their sisters were all so independent, but it is ultimately the only way to create a space for yourself.

W&H: What advice do you have for other female directors?

HAM: Don’t focus on the things holding you back. It is so easy to look at all of the people, customs, ideas, or prejudices working against you. Believe me, I’ve been through it all. You have to tune that out and just focus on the things you need to do to reach your goal.

As a woman there will always be people questioning your authority, doubting your ability, and hesitant to believe in your vision or ideas. All you can do is go out there and work hard and prove them wrong.

W&H: Name your favorite woman-directed film and why.

HAM: Jane Campion’s “The Piano” is one of my favorite films. I was lucky to get to spend some time studying it in graduate school and think about it quite often when I craft my own work. It is a masterful work, and there is so much you can get out of it on multiple viewings.

W&H: What differences have you noticed in the industry since the #MeToo and #TimesUp movements launched?

HAM: I have noticed an acknowledgement of the problem, which is a very positive step that is resulting in a lot of people looking for ways to be more inclusive. I think it will result in more opportunities for women, above and below the line, as producers now understand that they will be held accountable for productions that are not seen as inclusive.

I am very optimistic because the box office is clearly showing the successful results of giving women the opportunities to tell their own stories with strong, authentic voices. The old paradigms that said female stories or protagonists won’t find an audience have been proven false. It is still a very slow, difficult battle, and the opportunities are still few and far between, but it is up to us to push ahead and find them.

I believe strongly in focusing on each step of the battle and creating opportunities where there seem to be none. I am optimistic that the new generation of female filmmakers will come into the industry with the understanding that their voices not only matter, but that there are audiences out there eager to hear from them. Having that confidence, based on solid results, is a very powerful shift.