Haifaa Al-Mansour is the first female filmmaker in Saudi Arabia, where her 2005 documentary “Women Without Shadows” has influenced a new wave of filmmakers. Her work is both praised and vilified for encouraging discussion on taboo issues and penetrating the wall of silence surrounding the sequestered lives of Saudi women. “Wadjda,” Al-Mansour’s feature debut, received wide critical acclaim after its premiere at the 2012 Venice Film Festival and established Al-Mansour as an important talent emerging from the Arab World.
“Mary Shelley” will premiere at the 2017 Toronto International Film Festival on September 9.
W&H: Describe the film for us in your own words.
HAM: “Mary Shelley” is the remarkable true story of a woman who railed against the social constraints of her society and times to create a story that would outlive the work of her contemporaries — including her brilliant parents and husband — to influence generations of writers and dreamers with an entirely new genre: science fiction.
Her own story feels so strangely familiar because so much of it ended up allegorically in her masterpiece, “Frankenstein.” We all know the basic story, but the trials of her personal journey reveal so many layers and deeper philosophical elements that help explain the work’s appeal.
W&H: What drew you to this story?
HAM: When I read Mary Shelley’s story I felt an instant connection with it. She grew up in this very conservative culture, where women’s roles were much more rigid and opportunities were extremely limited. But she rose above it, and wrote a story that continues to capture the imagination of readers to this day.
What I love is that she chose to write a book that was so outside of the “acceptable” realms of literature for women, and created a genre — science fiction — that continues to be dominated by male voices. She wrote a book that challenged religious doctrine and raised new ethical questions about the impact uninhibited scientific experimentation would have on a society.
W&H: What do you want people to think about when they are leaving the theater?
HAM: I hope this film will inspire audiences around the world to struggle to emerge from whatever darkness shadows their own lives, through the power of their own creativity and will. Like the story of her monster, born into an alien world and desperately attempting to escape the torture of solitude, she shows us what it is to be human, the power of science and knowledge, and most of all what it means to persevere.
I want audiences to see Mary as a hero they can see themselves in. She is not perfect, and makes questionable choices and mistakes throughout her journey. But she does not give in to disappointment or the agony of loss — she just pushes forward.
She is an example of someone who takes the weight of misery and transforms it into a personal and profound work of art. It would have been very easy for her to give up at any point along the way, or to defer to her accomplished parents or brilliant husband, but she decided ultimately to use her experiences to find her own voice.
W&H: What was the biggest challenge in making the film?
HAM: I felt a big responsibility to be accurate and honor Mary Shelley’s legacy. Her life story is an important aspect of the Frankenstein legacy, and it is a beloved work to so many people for so many different reasons.
So I really wanted to focus on aspects of her personal journey that may not be that well known but are key to truly understanding everything that went into her writing. It was a wonderful challenge, and we had an amazing cast and crew that helped bring her story to life in a beautiful, touching story.
W&H: How did you get your film funded? Share some insights into how you got the film made.
HAM: The film is a unique co-production from a number of different places and countries. Because of strong support from the BFI [British Film Institute] and Luxembourg and the Irish Film Board, we ended up shooting in both Ireland and Luxembourg. It was quite an adventure and allowed us to secure talent from all over the world. We ended up with a very international team, and I feel strongly that our different backgrounds and perspectives strongly benefited the film.
W&H: What does it mean for you to have your film play at the Toronto International Film Festival?
HAM: Years ago I started to make short films, just as a hobby or as a kind of therapy, to deal with the frustrations I faced as a woman in Saudi Arabia. Making films for me is a place to find freedom, to liberate myself from the constraints of my conservative culture, and connect with the bigger world. And I’ve loved film since I was little.
As a working woman in Saudi Arabia I felt invisible, like I had no voice. I was sick of being ignored and found a voice in film. To now have a Gala premiere in the Toronto International Film Festival is truly a dream come true.
Growing up without cinemas, it is so special to me to see my film celebrated and presented at one of the largest, most important festivals in the world. I hope that it empowers other Saudi filmmakers and artists to stick with their dreams and continue trying to make films, despite the difficulties.
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.
It is philosophically the way in which Mary Shelley went after what she wanted in her life, without regard to moral or societal limitations. It was extremely shocking to the public in her time, and it will ruffle people’s feathers now. Don’t let that stop you. And don’t let the public pressure to be chaste, morally pure, and “ladylike” mold your vision.
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: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.
HAM: It is tough, but 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.
