Nayla Al Khaja, renowned as the first female film director in the United Arab Emirates, has become a pioneer for young women in the film industry. Her cultural knowledge and experience have tremendously aided her in successfully facilitating complex projects, both nationally and internationally. This female power player has, in fact, directed various short films which have been awarded at multiple international film festivals. Through the art of film, Nayla tells stories that are authentic and true to her culture, challenging any stereotypes global audiences may have.
Providing a new perspective in every film she directs, Nayla often goes against the general understanding of what constitutes Arab film and offers new elements. Call it a breath of fresh air. She has recently wrapped up shooting her feature film THREE, starring the remarkable Jefferson Hall, best known for his roles in House of the Dragon and Oppenheimer, alongside other notable cast members such as Faten Ahmed, Noura Alabed, Maree Al Halyan, Mohammad Bin Huthail and new actor Saud Alzarooni.
THREE marks an incredible milestone for Arab cinema by depicting a situation that is almost never seen on film — “an Englishman intertwined with the core of an Emirati family.” Below, read our exclusive interview with Nayla, where we discuss the upcoming cross-cultural horror film.
GRAZIA: Your first feature film, THREE, was shot in both Thailand and the UAE over a period of 24 days. Could you tell us some of the challenges you faced shooting outside your home country in such a short period of time?
N.A.: Shooting abroad requires meticulous planning. Coordinating travel, accommodations, permits, equipment, and local crew can be challenging, especially when operating on a tight schedule. I had to go with blind faith based on referrals and hire crew, everything was constantly a moving target as I had to direct and produce, which was extremely rigorous. In addition, working with local Thai crews and talent who speak different languages and have diverse cultural backgrounds may lead to communication issues and require extra efforts to ensure smooth collaboration. I had to have an interpreter on set which of course can delay minor things and cause frustration, but after week one I managed to navigate these new grounds quickly. Thailand’s humidity was brutal, as we added hot lights and I remember us dripping while filming, so that caused a challenge for hair and makeup and we had to rent massive AC units called anacondas that we turned on and off between takes. But overall, the Thai crew was super professional and willing to go all the way to help and achieve my shots.
GRAZIA: What significance does the film’s title, THREE, hold?
N.A.: At any given time there are always three people with opposing dynamics and ideologies, when two is a harmony then the third comes to topple that balance, the tag line is: the first you learn about evil; it comes in threes. I also love the simplicity of the name which is a number and I feel from a marketing point of view it can be easily remembered in any language.
GRAZIA: Why did you choose to engage in psychological horror as the genre of your debut feature film?
N.A.: I would like to delve into this genre and eventually master it. Since I come from a background of fine arts, my major inspirations are derived from artists such as Francis Bacon and Goya. I tend to have a very stark palette, and I would love to make films that are packed with atmosphere. Since I paint on canvas my films paint with light, genre films provide me with a wide range to push hard with mood and color.
GRAZIA: Why was it important for you to include cross-cultural references, such as the one between Jefferson Hall and Saud Alzarooni, in your film?
N.A.: Those two are powerhouses, I was absolutely blown away by them. Jefferson Hall being Saud’s doctor in the film is a central theme. Initially, the doctor shows compassion and concern for Ahmed’s well-being, but his crisis of faith makes him skeptical about the possibility of possession. As the child’s condition worsens, their bond deepens, and Jefferson becomes determined to protect him, leading to a grueling exorcism where he puts his own beliefs on halt to save him. Through their struggles, the dynamic between the doctor and child evolves into a powerful representation of two completely different worlds coming together to find a solution and that is to save the child.
GRAZIA: Your short films often challenge stereotypes and break the norm of what constitutes Arab film. Would you say this film does the same?
N.A.: I believe it will, since most of my upbringing and my lifestyle are a little unconventional, for example, I am married to a Swiss, and this will reflect in my work, I love cross-cultural films and even more if they are genre films. I feel we will see local women and men working alongside international actors in a very different light, the intensity in the film, the rhythm, the depth and nuances of the scenes that the actors delivered will I believe break many stereotypes specifically for Arab “Khaleeji” women, I tried not to make my characters not too one-sided and I wanted to show very different aspects of our culture that can be seen with a fresh lens. A story about my people told by the people themselves.
GRAZIA: How has the UAE contributed to and supported your artistic endeavours?
N.A.: The UAE through the Ministry of Education offers film education and workshops to nurture talent and enhance our skills in various aspects of filmmaking, and I was lucky to be mentored by the late Abbas Kiarostami who had a massive influence on me, I have also learned heaps from Masoud Amr Allah Al Ali who is our God father of cinema and I met him during the Dubai International Film Festival. Moreover, my film flights were sponsored by Emirates Airlines. My film education in Canada was through the UAE scholarship, I am forever indebted to my beautiful country. I have also been part of many government cultural exchange programs that provide opportunities for filmmakers to collaborate with international partners and showcase Emirati cinema on the global stage.
GRAZIA: How does it feel to be a huge part of the history of Arab cinema, being the first female film director in the UAE?
N.A.: It’s an incredibly empowering and fulfilling journey. Breaking barriers and defying gender norms in a male-dominated industry has been challenging, but it fills me with immense pride that I took that step. Being a pioneer allows me to do my best to open doors for other aspiring female filmmakers. I believe that by telling stories from my region, I can challenge stereotypes and bring a fresh perspective to the global audience. Along this path, there were obstacles and skepticism, but my determination and insane love for storytelling kept me going. It’s about sharing the voices and narratives of my people with the world, and I’m honored to be a part of this transformative journey.
GRAZIA: What advice would you give young Arab women who wish to turn the process of filmmaking from a hobby to a professional career? Where should they start?
N.A.: Volunteering on film sets allows aspiring filmmakers to see how a project comes together from pre-production to post-production, this is how I started, by volunteering on film, giving them a comprehensive understanding of the entire filmmaking journey. This hands-on experience can be instrumental in shaping their career path and building confidence in their abilities. Moreover, being part of a collaborative team builds a sense of camaraderie and enables networking with established professionals, opening doors to potential future opportunities. They should also immerse themselves in the world of cinema by watching and analyzing films from various genres and cultures. This will help them understand different storytelling techniques and filmmaking styles. They should then begin creating their own short films to gain hands-on experience and refine their skills.
GRAZIA: When is “THREE” expected to come out and where can viewers watch it?
N.A.: Currently, we are in the exciting phase of securing an international Sales Agency for our film. Collaborating with them, we aim to plan a distribution strategy. Our hope is that, after making the rounds at a few festivals, the film will be seen on the screens of MENA and global cinemas by hopefully next March. I consider myself fortunate to have producers with a wealth of experience in successful sales from their previous projects. This journey has been nothing short of extraordinary, providing me with invaluable insights into the intricacies of sales and distribution firsthand.
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