‘Naga’ Review: Sneaking Out Is Not for Good Saudi Girls in Overstuffed Debut Feature
variety.comDennis Harvey Film Critic The urge to dazzle can be its own straitjacket, and it’s one that weighs heavily on Meshal Aljaser’s feature debut “Naga.” He aims for a hurtling virtuosity, à la “Run Lola Run,” in depicting a disobedient young Saudi woman’s extreme travails in trying to get home before her strict curfew.
But that quarter-century-old German thriller’s simplicity of plot supported its hyperbolic style, while here the writer-director is so preoccupied with camera and editorial calisthenics, nothing else has a chance to come into focus.
The flamboyant but hollow results feel like too conscious a calling card for a talent that next time out should embrace some restraint, not to mention substance.
A 1970 prologue of murky relevance starts things off at peak melodramatic and cinematic hysteria, as a man enters a hospital with an automatic weapon while DP Ibraheem Alshangeeti does upside-down 360’s for no obvious reason.
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