Some films catch one off guard with unconventional twists and turns, paired with a novel take on commonly retreaded subject matter. Sony Classics acquisition Unidentified could only be handled by a female perspective at the helm. Writer/director Haifaa al-Mansour tackles Saudi sexism with the snappy touch of a woman working to make her mark. 
Male chauvinism in the modern day Middle East cannot be easily camouflaged with honest storytelling. Instead, al-Mansour details oppressive conditions subtly by sprinkling disturbing facts through a progressive narrative. This allows our rambunctious lead, Nawal (Mila Al Zahrani), to stand up for and highlight injustice, while having an ulterior motive in the back burner. Young women are held in such low esteem that their fingerprints and DNA are not registered in any legal system for identification. Families and schools shy away from claiming bodies of loved ones or helping in criminal investigations for fear of public shame. As a result, unmarked graves for innocent Jane Does are commonplace. Gossip is more of a concern than finding justice for an untimely death. Single women are not expected to impact or fully participate in society. Daughters are encouraged by their own parents to stop working on a career or advancing education, as intellectualism merely distracts from marriage.
These starkly opposing views from Western culture are jarring, but not new in indie media. A feminist protagonist existing in a commonly misogynistic society and challenging the norm distinguishes this niche thriller from comparable works. Despite being scolded by more senior men, Nawal overcomes her limited circumstances to advocate for her beliefs, and see pertinent clues where others have failed. In a way, Nawal’s character takes cues from Legally Blonde’s Elle Woods by exploring feminine details in appearance that men would surely miss. Where Elle catches incongruent facts in a testimony about a recent perm, Nawal spots custom stitching in the victim’s clothing that leads her to contact the tailor responsible for the embroidery, and so on. Relating to motherly, biological emotion also allows gender to work as a unique advantage for this crafty, makeshift detective.
Unidentified feels somehow Americanized for such a staunchly Middle Eastern work. Nawal is hyper-feminine, and loves watching “get ready with me” true crime videos off her phone, as she perfects her own makeup. Despite her obvious fascination with murder, she pretends to engage most with the stereotypically feminine part, largely to bond with boss Colonel Majid (Shafi Al Harthi) over their mutual interest in the content. It seems hard to believe Nawal wouldn’t be fired as a result of her outspoken antics and lack of respect for male authority, but here, we must suspend belief to allow a compelling tale. 
What makes Unidentified most singular is a bombshell revelation in the final few minutes. This genius payoff overshadows much of the plot, incorporating seemingly irrelevant breadcrumbs to satisfy unsuspecting sleuths in the third act. While the stunning turn of events unfurls impeccably, I personally would have loved more time to absorb this delicious exposé.
Unidentified will keep one on the edge of their seat, following in Nawal’s exploratory path, when it premieres at the Tribeca Film Festival on Tuesday, June 9th.
