© Film Clinic
With “Hajjan,” Egyptian director Abu Bakr Shawky offers a seemingly straightforward and conventional sports narrative about the high-stakes world of camel racing in Saudi Arabia, only to subvert subgenre expectations as the film progresses. Five years after his acclaimed debut at Cannes “Yomeddine,” Shawky delivers another thought-provoking coming-of-age feature, this time focusing on the way the relationship between a boy and his beloved camel is tested by the society they live in.
Directed by: Abu Bakr Shawky
Year: 2023
Country: Saudi Arabia, Egypt, Jordan
Length: 117 minutes
The film centers on Matar, a young Bedouin tailor played with understated depth by Omar AlAtawi. In contrast with his older brother Ghanim, who dreams of racing glory and financial success in the city, Matar is content with a simple lifestyle alongside his camel, Horfia. With the Great Safwa Race serving as the backdrop, which Ghanim has been preparing for for a long time, the stakes are initially set high for the brothers. However, it soon becomes clear that the race is not the only thing that will capture the audience’s attention.
In the initial acts of the film, we’re introduced to contrasting siblings, a family legacy to uphold, and the inherent dangers of camel racing. After a tragic accident during a race takes the life of Matar’s brother Ghanim, Shawky skillfully redirects the viewers’ expectations. What initially seems like a setup for a traditional revenge or redemption story morphs into a much more nuanced and compelling narrative, different from what has been presented in any other sports film.
While Shawky’s intentional subversion of the sports drama genre is highly commendable, it does pose a challenge for audiences during the first act that may not necessarily appeal to people who aren’t fans of sports dramas. For those, the early reliance on genre tropes could throw some viewers off. However, the narrative shift that follows could not be more rewarding. “Hajjan” demands patience from the audience, who must trust that the film will break free from its formulaic start.
Shawky focuses the film’s trajectory on Matar’s journey of self-discovery and fight against established norms within the cultural landscape of sports in Saudi Arabia. Herein lies the film’s masterstroke: its commitment to its lead’s emotional and moral integrity. Beyond the racing sequences, Shawky employs the backdrop of camel racing to explore broader themes like tradition, corruption, exploitation, and representation.
The film critiques overrepresented capitalist values and fixed gender roles in the sports genre. Matar’s motivation to race challenges traditional narratives. He races not for glory or financial gain but to rescue Hofira from being sold, exploited, or even killed. This refreshing approach not only challenges the notion of animals as mere tools for financial gain but also emphasizes the cultural importance of camels in Saudi Arabia. Additionally, the film introduces a significant female character, questioning the male-dominated status quo in competitive sports and urging the viewer to consider whether we must refrain from being so focused on only the masculine.
“Hajjan” is a film that requires patience but delivers a rewarding experience. At first glance, it appears to be a conventional sports drama, but it evolves into a subversion of the subgenre we have come to know by transforming into a sensitive character study and a clever social critique of the culture of competitive sports. The calculated risk of adhering to genre conventions initially pays off in the end, transforming “Hajjan” into a film that expands the boundaries of its genre and offers biting social commentary on masculinity, capitalism, and exploitation within sports culture.
“Hajjan” screens at the 2023 Toronto International Film Festival as part of its Discovery lineup
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