Mmm, yes, I know. This is not the film I was supposed to be going to see tonight - but I didn't check my route until today, and Google Maps had me going by Cannon Street station. Uh-oh, I said. I know that closes early. Sure enough, they had me coming back by a longer route, and no way would I be back by midnight. Never mind, I've missed Drive often enough before - I might see it one day!
So I consulted my film list again. There was one other film at the top of the ratings, but when I checked LondonNet to see where it was on tonight, and indeed whether it was on tonight, I ran into my usual problem. When they display the new week's listings, if a film will not be showing in the coming week, it doesn't display in the list, so you can't check where it's showing for the remainder of the current week. I should have checked earlier, but so it goes. And so I came, at last, to Wadjda.
I have really been looking forward to this film. Take note: this is the first feature-length film made by a woman from Saudi Arabia. Apparently, she had to shoot the outdoor sequences in Riyadh from the back of a van with covered windows. There are so many reasons to see this film. Curiosity about what such a film will be like. Curiosity about what downtown Riyadh looks like (not attractive, IMHO. Every breeze sends sand drifting down the street.) Curiosity about what Saudi customs are really like. I haven't seen anything before that would give me much inkling about what daily life is like for these people. Curiosity about what the treatment of women will be.
The story concerns a young girl - Wadjda - who wants to buy a bike to race her friend, Abdullah. Unfortunately, girls in Saudi Arabia are not allowed to ride bikes. She's stubborn, this one, though. As we follow her story, the director doesn't miss a trick, showing us also what her mother has to go through. Things like how her teaching job is in jeopardy because she has a falling-out with her driver and, well, she isn't allowed to drive herself to work. I can tell you, I got a real shock when, after being introduced to this vibrant woman in her home, we see her leaving to go to work, and shrouded head to foot in black, only her eyes visible. There's also a shot I found quite shocking, where Wadjda has bought her mother a present of a mug with a picture of them together. Well, shall we say, it's a picture of Wadjda, with a taller figure in black behind her, everything covered but the eyes. Quite spooky.
Through the whole film, I couldn't shake the feeling that Wadjda's freedom would soon be over, that when she was a few years older she wouldn't be allowed to roam like this. And it's simply mind-boggling when one of her classmates gets into trouble for bringing photos into school (they're forbidden). They're wedding photos. From her own wedding. The kid looks about 12.
But you know, there's a spirit of hope running through the whole thing. And the symbolism of the final image made me cry. It's beautifully directed. There was some applause at the end, unusually, and I joined in. This is an absolute must-see: if you're interested in Saudi Arabia, in foreign countries in general, in women's rights.. or just want to see a film that's a cut above the rest. It's haunting, and it'll stay with me.
There was an Indian on the way back to South Ken station, but when I crossed the road to it, I noticed an unassuming restaurant next door. Turned out to be Chinese, and I decided I'd rather a Chinese. Jia is the name. The décor is minimalist, the service friendly and efficient, and the food excellent, from my one experience, although online reviews are mixed. I loved the shredded chicken with ginger and spring onion that I had for starter, but must put a health warning on the kung po - it's the hottest I've had! Still, I would recommend this place.
Another film tomorrow, methinks - but I'll have to look at the list of new releases to see exactly what!
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