By Huda Al-Shair

Hijra — meaning “pilgrimage” — is a cinematic journey that not only takes viewers on a virtual backpacking trip across Saudi Arabia, but also carries them through time, revealing the Kingdom’s layered history, living culture, and human depth.

Directed by Saudi filmmaker Shahad Ameen, whose fantasy film Scales was Saudi Arabia’s Oscar entry in 2020, the film captures both the geographical and spiritual landscapes of the country.

The story follows a grandmother, Sitty, and her two granddaughters as they travel to perform their pilgrimage. When one of the girls goes missing along the way, Sitty and the youngest granddaughter, Janna, set out on a search that becomes a journey of self-discovery, connection, and reckoning with life itself.

The film was originally conceived as a story about a father and daughter searching for a missing sister. Producer Mohammed Al-Daradji suggested reframing it as a road movie, allowing the narrative to explore Saudi Arabia’s diverse geography while grounding the story in a spiritual journey that could resonate beyond cultural or religious boundaries.

“Al-Hijra reflected multiple migrations — from Janna and Sitty’s journey to Abraham’s migration and the Hajj,” Al-Daradji explained.

“It pushed us to think beyond a single storyline and instead capture how geography shapes communities, while celebrating Saudi Arabia’s cultural richness and identity.”

While the title might suggest a film aimed primarily at Arab or Muslim audiences, the cast and director stressed its universal themes.

“I always aim to make films that resonate globally, not only with Arab audiences,” Ameen said. “Pilgrimage is universal, we’re all on journeys, seeking meaning or redemption. Audiences were fascinated by Saudi Arabia’s locations and culture, but more importantly, they connected emotionally with the story. Pilgrimage isn’t something only Muslims understand; it’s something everyone understands.”

That universality is reflected in the film’s character arcs. Nawaf Al-Dhufairi, who plays Ahmed — the driver who transports Sitty and Janna — described his character’s transformation.

“At the beginning, Ahmed appears greedy and self-interested,” he said. “But inside, he’s carrying deep pain shaped by a harsh life. His fear of instability and deportation keeps him in survival mode. Through his bond with the little girl, he reconnects with his humanity and realizes he must stay and continue the journey with them.”

Lamar Faden, who plays Janna, described the film as a story of growth and identity.

“Janna begins as a child, fragile and unsure, struggling to understand her grandmother, who was shaped by a tougher generation,” she said. “Through the journey, she finds her voice and gradually steps into leadership. In the end, it becomes less about the pilgrimage itself and more about discovering who you are.”

Together, these arcs reinforce the film’s exploration of redemption, human flaws, and personal transformation.

Hijra also offers a fresh portrayal of Saudi Arabia, challenging the narrow and often stereotypical images common in international cinema. Ameen emphasized the importance of telling authentic local stories.

“Every story that comes out of the Kingdom matters,” she said. “It’s time we shared our own narratives, in our own voices with more space for both male and female directors.” She added, “We’re all sharing this world and this journey, each of us on our own path toward understanding and redemption.”

The film’s positive reception at the Venice Film Festival underscored the resonance of that approach.

Authenticity also shaped the production itself. The cast and crew traveled physically from the south to the far north of Saudi Arabia, often living in tents and caravans with limited amenities. Al-Dhufairi recalled the intensity of the experience.

“Imagine driving from Wadi Al-Far’ to Bani Malik and then to Anduba covering nearly half of southern Saudi Arabia,” he said. “It can take ten hours by car.”

He also recounted a moment that reflected Saudi hospitality. While filming in Wadi Al-Far’, local youths began hitting the crew’s car, alarming the Chilean cameraman.

“They were actually inviting us to join a feast,” Al-Dhufairi said. “The cameraman kept saying, ‘Wow, the hospitality here is incredible.’ I felt proud witnessing that.”

Ameen was equally deliberate in showcasing the Kingdom’s geographic diversity.

“The opening scene begins in fog, and people questioned whether it was right,” she said. “But that was intentional. Saudi Arabia isn’t just desert. In February, it snows in Tabuk, in a place called A’lqan. We even scheduled filming around snowfall forecasts, guided by locals who knew where snow appears most.”

Faden echoed that sense of discovery.

“I was constantly surprised,” she said. “Saudi Arabia has snow, forests, deserts — such variety. I kept saying, ‘Wow, this is Saudi Arabia?’ The landscapes were breathtaking.”

Themes of migration and freedom also run through Hijra, reflecting the Kingdom’s long-standing role as a cultural crossroads.

Although the film is set in 2001 — a year loaded with global significance — Ameen said politics were never part of her intent.

“I genuinely forgot about the politics of that year,” she said with a laugh. “The timing came from the grandmother’s backstory. She immigrated decades earlier, traveling on foot, not by plane or train. The year simply served the story.”

Hijra premiered at the Venice Film Festival and was later selected as Saudi Arabia’s official submission to the Academy Awards. For Ameen, the recognition carried deep meaning.

“I’m honored to represent my country again,” she said. “That Saudi filmmakers believed this film could represent the Kingdom internationally means everything to me. We hoped we did Saudi Arabia justice.”