Susanne Regina Meures is a Swiss-German filmmaker. Her debut film, “Raving Iran,” premiered in 2016 and has been shown at over 130 film festivals worldwide, including Hot Docs and Visions du Reel.

“Saudi Runaway” premiered at the 2020 Sundance Film Festival on January 25.

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

SRM: Muna is a fearless young woman from Saudi Arabia. Her arranged marriage is imminent, and a life without rights and free will seems inevitable. Tired of being controlled by the State and patronized by her family, Muna decides to take matters into her own hands and plans an escape.

With unprecedented courage and determination, Muna begins to film, documenting every nuance of her claustrophobic existence. Her phone becomes her accomplice and her weapon.

She secretly exposes the archaic patriarchy under which she lives, the preparations for her wedding, and her impending escape. Muna knows that her honeymoon will be her last chance to run away. But will her meticulous plan succeed?

W&H: What drew you to this story?

WRM: In Saudi Arabia, women are treated as minors all of their lives. Saudi women still need the permission of a male relative or guardian to make major life decisions, including marriage, divorce, and work.

The system also makes it extremely difficult for women to seek help for domestic and sexual violence issues. Male guardians can still file cases of filial “disobedience,” a crime that can lead to a forcible return of the accused women to their guardian’s home, or imprisonment in a women’s shelter. Many women have had enough of their claustrophobic existence under the archaic patriarchy. But trying to get out of Saudi Arabia is not easy, and it is incredibly dangerous.

At the beginning of 2019, a new wave of “Saudi Runaways” reached the international media. Several teenagers and young women fled the Kingdom under dramatic circumstances. Some were successful, but many failed and faced unthinkable consequences.

Their stories caught my attention. On the one hand, the young Saudi Arabian Crown Prince Mohammed bin Salman has been relaxing some of the very strict laws and implementing sweeping social and economic reforms designed to wean the country off its dependence on oil revenue.

However, the rights of women have been held back not only by the country’s laws, but by its deep religious conservatism. In Saudi’s male-dominant culture, men have ultimate authority over women, and many are resistant to the reforms. Around 1000 women are still running away each year.

The topic is very current and of great urgency and relevance. So far, no one has tried to give voice to these women and their yearning for freedom. Although the Kingdom of Saudi Arabia is at the center of world affairs, only a few authentic images from Saudi Arabia exist. There are no personal stories out there, and Muna’s life essentially summarizes a human rights drama at its core.

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

SRM: I hope the film will paint a more differentiated picture of a country which is trying its best to shake off its image as one of the world’s most restrictive places for women.

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

SRM: Challenges often lead to the best ideas. I applied for a visa in Saudi Arabia twice, and it got declined twice. So, I had to find another way to get into the country without being there physically.

In April 2019, I got in touch with a Saudi activist in Europe who also runs a blog and a closed chat group supporting women who are trying to leave the Kingdom. I placed a post in the chat group, looking for girls and women who were planning on escaping in the near future. My hope was to find someone who would be willing to document their everyday life and their planned escape with their mobile phones — someone who would be able to give us personal insight into a hidden world. Many young women got in touch, but in the end, they were too afraid to participate.

Muna, however, was adamant to share her story. At great risk, she started to meticulously and authentically film her life, as well as her secret escape plans. Every day, she sent me her footage, we chatted about for five to six hours to discuss form and content, and I taught her how to film.

Although a real challenge to direct, this rare cinematic gesture and the highly controversial topic complement each other perfectly. It is the raw and honest form of Muna’s smartphone footage, and the courage of this young woman that really draw you in.

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

SRM: The film is funded by private and governmental film funds, as well as television channels.

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

The emotional intensity of diving into other people’s lives and the multilayeredness of actually making a film have always been inspiring to me.

Filmmaking is highly demanding on an intellectual, creative, and humanistic level. It is always a challenge. Either it’s pure ecstasy or it’s hell. There’s not much in-between, but it keeps you awake and aware of the world and your own self. You’re pushed to constantly reflect, adjust your opinions, emotions, and posture — often on an hourly basis. And in the best of cases, as filmmakers, we are sometimes able to change the world a little.

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

SRM: Best advice: Be patient.

Worst advice: Don’t get into filmmaking.

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

SRM: Stop apologizing for more than you need to, and support inclusivity by also including men in your production — give them a chance to be allies.

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

SRM: There are many, but if I have to name one, it would be “Divorce Iranian Style” by Kim Longinotto. A fascinating verite-style documentary, the film counters the traditional stereotypes of women in the Muslim world as passive victims, and does so with compassion, humor, and dramatic pathos. It features strong-willed women and empathetic characters.

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

SRM: I feel there is more respect in the room.