Drawing from a personal familial legal ordeal, director Amjad Al-Rasheed’s drama “Inshallah a Boy” delves into the enduring oppression of women in Jordan by archaic laws and entrenched misogyny. Despite occasional script clutter and overt symbolism, Palestinian actress Mouna Hawa’s compelling portrayal of Nawal anchors the film, resulting in a captivating blend of personal narrative and political commentary.
Nawal’s struggle begins with mundane yet telling incidents, like retrieving her bra discreetly from a public space, symbolizing the dichotomy between her public and private identities. However, her world is upended when her husband Adnan’s sudden death exposes hidden debts, setting off a legal battle over property rights.
Refusing to yield to her brother-in-law Rifqi’s demands, Nawal confronts a legal maze exacerbated by Adnan’s failure to formalize her ownership claims. Supported initially by her brother Ahmad and coworker Hassan, Nawal eventually realizes that true independence lies in self-reliance.
Interactions with other women reveal complex dynamics, from the superficial support of her neighbor Feryal to the materialistic expectations of her employer Souad. Only in Souad’s daughter Lauren does Nawal find a kindred spirit, albeit through a transactional relationship born of mutual need.
Hawa embodies Nawal’s evolution through moments of both fiery assertion and silent contemplation, reflecting her inner growth and resilience. As the film concludes, Nawal’s symbolic struggle resonates as she maneuvers a pickup truck, symbolizing her determination to navigate life’s challenges independently and inspire her daughter Nora to forge her own path.
Ultimately, “Inshallah a Boy” serves as a poignant testament to women’s resilience in the face of systemic oppression, offering a message of empowerment and hope for future generations.