Unidentified, 2025.
Written and Directed by Haifaa al-Mansour.
Starring Mila Al-Zahrani, Aziz Gharbawi, Shafi Al Harthy, Adwa Alasiri, and Othoub Sharar.
SYNOPSIS:
A grieving mother, fueled by her passion for true crime, seeks answers when a teenage girl is found dead in the desert and the police investigation stalls.
From writer/director Haifaa al-Mansour, Unidentified is one of those thrillers that one can’t help wanting to jump forward to the end when talking about it, as it contains a sinking major twist that isn’t just preposterous, but rather not even the same grounded tone exploring real-world social issues in Riyadh, exchanging that for trashy airport novel vibes. When the reveal is unfolding, it feels as if it is from another movie entirely. That’s also not to say the filmmaker isn’t still aiming for something regarding patriarchal commentary, but all that can be seen is an absurd turn of events that don’t necessarily need to be here; if anything, this would be passable if it had ended about ten minutes earlier.
In a unique angle for murder mysteries, the story is centered on aspiring police detective Noelle (Mila Al-Zahrani, effectively playing a woman haunted by her past and the misogynistic culture around her that doesn’t allow women the same chances at freedom or thriving), compulsively watching an influencer breaking down various American murder mysteries and culprit tactics while working in a precinct scanning files with the many men around her under the assumption that she isn’t equipped to handle anything more beyond that. Upon the discovery of a dead teenage girl, the slight wrinkle comes in that the detectives aren’t only looking for a suspect, but also the identity of the woman. If she isn’t claimed by loved ones in roughly two weeks, the body will be buried in an unmarked grave. As for Noelle, she becomes overwhelmed by the feeling that this could have been her.
After a sluggish start, which sees Noelle brought into the fold more to get her thoughts on the crime scene, she begins going against the orders of her superiors to further dig around for information, eventually coming into contact with two girls at a high school who knew the dead girl. Soon after that, she starts receiving cryptic text messages from unknown senders related to whatever happened (a prologue does keep viewers marginally ahead, informing us that the body was driven out into the desert and dropped there dead). Where Unidentified truly starts to get interesting and wildly different from American murder mysteries is that the deceased is identified relatively halfway through, with the story shifting more into a family that doesn’t want to claim the girl as theirs, for reasons related to sexism and what the girl was doing.
Perhaps a misstep, the film is also concerned with shading in some of Noelle’s interior life, with a disapproving brother who thinks she should get married again (she was already in an arranged marriage for five years and divorced, while barely looking 25) instead of striving to become a detective. There is also some business about the ex-husband being abusive, and a stillborn daughter, mostly serving as a distraction that doesn’t add much. That subplot is here for a reason, but unfortunately, nearly all the wrong ones. No favors are done by the awful color grading in these flashbacks and performances that feel straight from a soap opera.
Engaging and refreshing when Noelle is trying to get through to this family that the girl is still part of them, there are a couple of sobering, sad conversations. Whenever shifting back into trying to pin the killer, there is always that sneaking suspicion that the answer will be ridiculous. For a film that already takes some time to get away from dry generic interrogations and build momentum, that identifiable aspect of the ruins Unidentified.
Flickering Myth Rating– Film: ★ ★ / Movie: ★ ★
Robert Kojder
