Olivia Suthers | Middle East Fellow
Image sourced from Freepik.
Film in the Middle East and North Africa (MENA), which has historically been male dominated, is gradually being reclaimed by women. Political, religious, and social factors have influenced the region’s film industry for a century, resulting in the overlooking or oppression of the opinions and artistic contributions of women. Women are now resisting by defying censorship and societal norms, reclaiming their position in the creative economy. Nevertheless, more institutional support is required to continue this momentum and achieve greater gender equality in the region’s film industry.
Origins of Oppression
Rigid frameworks have long governed the intersection of film and policy in many MENA countries. Women filmmakers have faced systemic obstacles, including legal limitations on working (e.g. gender segregation laws in Saudi Arabia), societal stigmas rooted in local traditions and extreme religious interpretations and financial difficulties. These systems prioritise state control over cultural narratives and stem from deeply embedded social, political and religious structures.
Modern media and cultural policies have historically been heavily influenced by colonial authority and the nationalist movements that followed. After gaining independence from the rule of imperialism, many MENA countries attempted to establish cultural sovereignty in the 20th century through enforcing stringent laws governing creative expression. Previously, the media was frequently employed by governments as an instrument for nation-building, thus stifling dissenting opinions and promoting narratives deemed acceptable by the state. Within this framework, women’s participation in the film industry has been significantly limited, as traditional gender norms and state-controlled narratives often excluded them from both creative and leadership roles. The marginalisation of women in film was further compounded by the dominance of male perspectives in storytelling, shaping an industry where female voices and representations remained constrained.
In an era where many states across MENA have established strong foundations of cultural identity, why not provide support to ensure an equitable future for women in film?
Pushback and Perseverance
Despite these challenges, women in MENA persist, using cinema as a powerful tool for artistic expression and representation. In Iran, despite being ranked the 12th most censored country in the world, female filmmakers have emerged as figures who have made Iranian cinema overseas a major art house commodity. Shirin Neshat's Women without Men (2009) is a visually striking and politically charged narrative about women's struggles for autonomy during the 1953 coup, while Samira Makhmalbaf's Blackboards (2000) examines themes of exile and resilience through the lens of Kurdish teachers navigating war-torn landscapes. Iranian women have subverted dominant narratives through film and created counter-discourses, reflected in the success of these films at festivals like Cannes.
Across the Persian Gulf, Saudi Arabia’s recent removal of film prohibitions has sparked a new generation of female filmmakers who are openly redefining gender conventions. In a country where women were only allowed to drive in 2018, Haifaa al-Mansour’s Wadjda (2012) became the first feature film directed by a Saudi woman. Filmmakers like Shahad Ameen, whose 2019 film Scales reimagines gender oppression, have been inspired by its global acclaim, paving the way for new inclusive narratives. Despite ongoing barriers to full integration in the media sector, media liberalisation in Saudi Arabia and other Gulf governments has given women access to new creative mediums. These female filmmakers continue to push boundaries and use film as a vehicle for cultural resistance and change, but their journey is far from complete. Without government support – financial and otherwise – these changes will remain shallow and fail to fully penetrate the core of the region’s cinematic culture.
Promoting Gender Equality in MENA Film Industry
While the film renaissance led by women in the region is undeniable, institutional and policy reforms are crucial to sustaining momentum. MENA governments must prioritise gender-inclusive policies that support women in film. This includes film training opportunities, legal protections against censorship, and the dismantling of regulatory barriers that disproportionately affect female creatives. UNESCO stresses that cultural policies in MENA must go beyond symbolic representation to actively support and fund women’s artistic ambitions.
International organisations also have a crucial role to play in supporting MENA women in film through funding, training, and cross-border collaborations. The Doha Film Institute, for example, has provided grants and mentorship to female filmmakers across the region. Similarly, UNESCO’s Empowering Women in the Audiovisual Industry initiative has promoted networking opportunities and training courses for women producers and directors across MENA. Similar programs should be expanded by national and regional organisations to build on this progress and guarantee more access to finance and mentoring. Building cross-regional partnerships and bolstering institutional support will be essential to provide women in the sector long-term opportunity and equity.
Digital platforms help women bypass traditional gatekeepers, share their work globally and expand artistic expression. The Habibi Collective, an online archive and curatorial platform, has championed female filmmakers from MENA, making their work accessible to a wider audience through streaming and film festivals. International organisations and digital platforms are thus reshaping the cinematic landscape, ensuring that the artistic voices of women in MENA are heard globally.
Women in MENA are reshaping the region’s film landscape, challenging outdated norms and reclaiming long-denied spaces. However, to sustain this progress, institutional and policy reforms are needed. Governments and cultural institutions should implement policies that support women’s leadership in film, ensure equitable opportunities and dismantle systemic barriers. As more women take on these roles, they transform the cultural fabric of the region, fostering a more inclusive artistic future.
Olivia Suthers is the Middle East Fellow for Young Australians in International Affairs. Olivia is a recent graduate from the University of Western Australia, holding a Bachelor of Arts with a major in Asian Studies. Growing up, Olivia lived in Brunei and Qatar. This early experience sparked what would become a major passion for fostering cross cultural understanding, specifically regarding the frequently misunderstood region of the Middle East. Olivia is excited to embrace this Fellowship as an opportunity to meet the intersection of her love and experience in research with her lived experience and passion for Middle East relations.
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