Unidentified
June 19th, 2026
MOVIE: UNIDENTIFIED
STARRING: MILA AL ZAHRANI, ABDULLAH AL-QAHTANI, AZIZ GHARBAWI
DIRECTED BY: HAIFAA AL-MANSOUR
AMovieGuy.com’s RATING: 2 ½ STARS (Out of 4)
RATED: PG-13
RUN TIME: 99 MINUTES
My introduction to Haifaa Al-Mansour came at a screening of her spectacular debut feature, Wadjda, at Ebertfest. It was a wonderful story that shared similarities with Vittorio De Sica’s classic Bicycle Thieves while also serving as a groundbreaking work of cinema for women in Saudi Arabia. Being the first female filmmaker in her country is not only a difficult baton to carry, but it also creates the expectation that every subsequent film will reach the heights of Wadjda. Her latest work, Unidentified, explores similar themes about the limitations placed on women, the roles they are allowed to hold, and the obsessions that drive them. While it never reaches the greatness of her debut, there is enough intrigue and craftsmanship here to make Unidentified worth considering.
Co-written by Al-Mansour and Brad Niemann, Unidentified opens with the body of a teenage girl lying in the desert sand, presenting Saudi police with a new case. The film centers on Nawal (Mila Al Zahrani), a woman who works at a local police station, spending her days digitizing police records while listening to her favorite murder mystery podcast. The irony of her obsession is that in her country, Nawal cannot become a detective, despite being the only person genuinely interested in solving the case. Chief Meshaal (Abdullah Al-Qahtani) and his assistant Ali (Aziz Gharbawi) are in no hurry to pursue leads, reflecting a society where the life of a woman is clearly valued less than that of others.
Narratively, opposing forces push against one another as Al-Mansour crafts an engaging investigation, moves her camera with confidence, and invites the audience to follow Nawal’s journey. Yet the film’s procedural nature often drains its momentum, causing Unidentified to lag through stretches before finding its footing in a thrilling final act. That excitement stems from Nawal’s sharp instincts and determination. Repeatedly told to stay away from the investigation, she refuses to let the victim’s death go unanswered, driven by an obsession too powerful to ignore.
What remains evident is Al-Mansour’s skill as a storyteller. Her examination of gender inequality- and the idea that it takes another woman to pursue justice when others refuse- highlights the enduring reality of sexism. As Nawal uncovers new details about the victim’s friends, questions neighbors, and inches closer to the truth, it becomes increasingly clear that she takes the case far more seriously than those entrusted with solving it. Still, the narrative remains heavily procedural, occasionally becoming too methodical before arriving at a climactic and shocking conclusion.
The reality is that Haifaa Al-Mansour’s style and filmmaking talent often shine through, even when the material itself is less compelling. Unidentified attempts to blend her assured direction with stories about women continuing to fight for rights that should never be in question. Films made by women about women remain far too rare, and Al-Mansour continues to create space for those stories to be told. Unidentified may not rank among her best works, but it accomplishes what it sets out to do.
2 ½ STARS
UNIDENTIFIED IS CURRENTLY PLAYING IN SELECT THEATERS.
Written by: Leo Brady
