Manal Khaled is an Egyptian filmmaker who studied Philosophy at the University of Alexandria. She worked at Misr International Films and has collaborated with award-winning directors such as Saad Hendawy, Kamla Abou Zekry, Hani Khalifa, and Mohamed Ali.

“Trapped” is screening at the 2021 SXSW Film Festival, which is taking place online March 16-20.

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

MK: Three charged moments come together in the context of one major event: the Egyptian revolution of 2011. At that time, the women of “Trapped” were longing for freedom and thus they set off amongst the masses. Fate led them to face an exceptional siege in the background, with groups and large crowds in the squares. While the big event caught the attention of millions who followed closely, we shed light on the characters who lived in the shadows.

These stories are the main source of inspiration for the movie.

Anxiety, waiting, and the desire to flee are the themes intertwined between the three stories. These women were led to a pure human experience and forced to make new choices they never thought they would have to make. The characters of “Trapped” as well as the makers of the film and many others were exposed to violent jolts that marked their lives, even if only temporarily.

We chose three stories from a pool of hundreds. Stories that reflect our realities and experiences.

W&H: What drew you to this story?

MK: One recurrent question preoccupied us, and we tried to find an answer by making this film. We chose three stories to represent the reality of many Egyptians trapped at home, in narrow streets and in workplaces. At that time, hundreds of thousands, maybe millions, took to the streets angry, wanting to confront the authorities face to face.

We questioned if some were disgruntled and rejected this reality, or maybe were pleased but unable to participate, or maybe supported it secretly, fearing consequences. Were there others who refused to participate, but then found themselves convinced after being exposed to certain incidents?

And those who were hiding at home, behind their TV and phone screens, what happened to them? Did their lives also change? Were they participating in the revolution as much as those on the street? Personal experiences were key to leading us where we aimed to be. What happened to us and too many others were not any ordinary incidents.

After 10 years, we still remember those days, and instead of burying those memories, we made a film full of life — just like that moment, and us.

W&H: What do you want people to think about after they watch the film?

MK: Three women of different ages, coming from different social backgrounds, are trapped in their quest for freedom. The film tackles the broader meaning of a siege, sometimes created by oneself. A siege is not limited to physical walls and chains but sometimes comes from within. The women share similar dreams of change, of revolution. But their differences create a certain contrast when it comes to their awareness, openness, and methods of expression and rebellion.

“Trapped” opens a conversation but never aims to convince nor send a specific message. Each viewer will choose their own. We only aim to bridge the street and closed places. Such stories may seem banal for other cultures but in our context, we would consider this a victory for these women marginalized from the political picture by fear, terror, and harassment. We chose to create a film because the media was a major tool in this war against women. These seemingly common stories remained in the consciousness of the filmmakers for 10 years until they reached the audience.

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

MK: The main challenge was tackling the sensitive subject of the film itself. We’re talking about real stories that happened in a historical moment that authorities are trying to erase from the common memory. The subject matter is taboo as it exposes the harsh reality of the revolution. It was impossible to find sponsors or even a production house to endorse the film. We had many people embarking on this journey but there were others who were scared to be affiliated with such a project, fearing the possible consequences.

The biggest challenge was finding celebrity actors to embody these characters and protect the project for wider distribution. It was then a choice to find fresh faces that share stories and mindsets with the characters in the film. This choice is reflected in the realism of the film and we were able to stay true to the events. The subject and the stories are at the center of the film.

The heroes are played by women, that alone places a target on their backs, both socially and politically. We then faced many logistical and production setbacks during the preparations and shoot. We wanted to film in real locations for the most accurate geographical representation on screen.

Also, the genre is not the most common nor most wanted in the region. Thus, finding theaters in the Arab world that would screen this film will be nearly impossible in the future; we are honored to have the film be part of this festival. We worked hard to respect the stories and tell them in a language that speaks to us, a language that reflects our values and mentality without compromise.

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

MK: I’m glad to be answering such a question. Finding funds is the main reason for crushed dreams and films that never see the light.

This adventure started with a simple chat with a friend and co-worker. I was telling her about an incident that happened to me at the local grocery shop, on January 25, 2011. She then encouraged me to write and offered to help with its execution. We were longing for a non-commercial experience: it started with a simple dream, a challenge. This was our chance to present a film with our own artistic touch.

I wrote the script and contacted the actress of the first story. Together, this all-female trio recruited more like-minded artists to take part in this project. I emptied my pockets, paid all expenses myself, and we were then able to produce the first story.

For the two remaining stories, I chose to collaborate with a friend, a journalist who was caught in the siege with me and my daughter in a hammam in 2011. This was her first time scriptwriting. After many searches and communications, I presented the draft and project to a production house specializing in independent movies. Days before the shoot, however, the production house withdrew for financial reasons.

The crew was on the verge of losing hope — but then, everyone chose to delay their payments or work for free to contribute to the success of the film. I personally sold my car and took several loans, but we still needed resources to rent the equipment. Fortunately, the gaffer, technicians, and equipment rental fees were offered for free or with delayed fees. We are forever grateful for the support.

We were able to conclude the second phase of shooting, and completed two out of three stories.

After many more quests for potential production houses and sponsors, the only one we found wanted to intervene with the content of the stories and impose the participation of a famous figure to play the woman in the third story. The project was then put on hold for two years, and it felt as if the whole effort was in vain. This coincided with the fall of the revolution — double the pain and sorrow.

In 2017, we were called to resume work. We found hope and motivation to carry on with this adventure, after years of being silenced and feeling defeated. Dozens of young talents helped launch an online fundraising campaign and promote the film on social media. The response to the subject of the film generated 102 percent of the funds we were aiming for. This money, and another loan from the bank, allowed us to complete the filming of the third story. Post-production expenses were fully covered.

The film’s distribution was handled by MAD Solutions, who treated the film with the same respect and appreciation we carried since day one. We owe everyone who worked on this film a respectful salute and warm appreciation.

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

MK: After finishing my studies in philosophy, I worked at the office of censorship in Egypt. I was in charge of deciding which clips to remove from films. I was in charge of silencing the directors and could see the torment in their eyes when I slaughtered their reels. It wasn’t until I studied how films are made that I valued the effort put in every shot.

I pursued studies in directing, screenplay writing, and film criticism, then worked as an assistant director in short, feature, and documentary films for over 20 years. This is my first directing experience. And it happened that the main character of the first story is based on my personal experience: the inspiring first night of the Egyptian Revolution.

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

MK: The best advice I got was from a director, a dear friend, after watching parts of the film. She told me to believe in myself and my work. She reassured me that the film was worth completing, despite the challenges we had been facing. She encouraged me not to make any compromises with the thematic and dramatic treatment of the story, in order to facilitate financing or distribution or to abide by commercial standards.

As for the worst advice, it was that having a well-known movie star would expedite our marketing and distribution. And that the film would only be accepted in festivals for having big names. I decided to stay true to my values and chose new faces such as Neama Mohsen, Habiba Effat, and Farah Yusuf, the child. It was Farah’s first experience in front of the camera.

We bet on the ability of our actors to portray the complex characters written in the script and they were able to reflect their own experiences in their roles. And in my opinion, they took the film to a realm others couldn’t.

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

MK: Cinema is a fundamentally participatory industry that demands exceptional efforts. Women filmmakers are here to lead the fight against attempts to silence our voices on the account of the industry’s business aspect. We have a duty to tear down walls and break taboos.

Job opportunities for female filmmakers were never and will never be presented on a silver plate, nor measured based on talent, as they are for men. We have to make our own way, make change through films, one film at a time. We have to be patient, constantly learn and evolve, and make more films.

I have worked for over 20 years as a first assistant director, meaning I have been around producers, mostly men, and learned to understand the functioning of the industry. We still don’t trust female directors with big budgets, despite the irrefutable role women directors and producers played in building the film industry in Egypt. It won’t be easy but if you believe in yourself, the stories you tell, and your talent, the world will support you.

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

MK: My first experience with cinema was with Lebanese director Arab Totfy. I was an intern on the set of her film, “A Dark Room, A Lit Life.” I absorbed skills by watching her direct and produce. Her passion for documenting stories and realities drew me more, and I was interested in how she chose her subjects. Totfy spoke about different themes and always had her own voice, the same signature. In Lebanon, she told the history of the land through the stories of the people. In Palestine, she defended the cause through the fight of female militants. In Egypt, she spoke about the nation through the history of the popular resistance. Women and social issues occupied the largest space in her documentary work.

W&H: How are you adjusting to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?

MK: It is undeniable that this pandemic has changed the world and has left us stranded in global uncertainty. For the most of it, like everyone else, I was stuck at home with my cat.

For the first time amid the responsibilities of a single mother of one beautiful daughter, I had the time to pause, reflect, and reassess everything in my life. I faced my true self for the first time and learned to discover who I truly am, away from the race of the working life. I contemplated my relationship with everyone around me.

I had the chance to finish editing my documentary film, “An Hour Or So,” about three sex workers in Egypt. “Trapped” was born in the midst of a revolution and “An Hour Or So” from the womb of a global crisis. The pandemic forced us to present our films virtually, through online festivals. It would have been a pleasure and an honor to feel the audience watching my film for the first time but until then, thank you for the opportunity.

W&H: The film industry has a long history of underrepresenting people of color onscreen and behind the scenes and reinforcing — and creating — negative stereotypes. What actions do you think need to be taken to make Hollywood and/or the doc world more inclusive?

MK: There are significant steps that have already been taken to make the film industry more inclusive of social minorities and the marginalized. These steps include the newly made decisions by the Academy of Motion Picture Arts and Sciences regarding Oscars eligibility. Likewise, multiple SVOD platforms have changed directions to represent and support more filmmakers of projects about minorities.

However, the most important factor is including minority audiences in the film industry. This can be made through dedicating more films with themes that highlight their challenges, struggles, and fears. This shall help to create a more sustainable focus on minorities in the industry. The situation is better than before, however, we need to make sure more positive steps are taken to ensure more creativity and variability.