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Review: Haifaa Al Mansour Returns to Saudi Arabia for the Satisfying The Perfect Candidate

Film | May 15, 2021 | “Girl power” is too simplistic of a term to fully capture the energy filmmaker Haifaa Al Mansour builds into her films. Still, on a surface level, the phrase applies. In 2012’s Wadjda, the first feature-length Saudi film made by a female director, Al Mansour captured a girl’s desire for freedom in the face of traditionally conservative thinking. (A solid trio of viewing would be Wadjda, the Dardenne brothers’ Cuties.) After her subsequent films, 2017’s Nappily Ever After, took her outside of the country narratively, Al Mansour returns to Saudi Arabia with The Perfect Candidate. A slice-of-life portrait of a young female doctor who decides to run for political office,

What s On TV, May 16: Adieu (for now), The Nevers

(HBO, 9 p.m., finale for part one of season one): Tonight, Roxana Hadadi will bid farewell to the Orphans of The Nevers, at least for now while part two has not yet been scheduled, the six-episode run that concludes this evening is merely the first half the show’s first season. But while HBO may not be calling this a proper season finale, it sure seems like it’s got big finale energy. We’ve got an origin story for Amalia incoming! And just a guess we’re also likely to hear more about this big revelation, as described in Roxana’s recap of last Sunday’s installment (contains plot details, obviously):

What s On TV, April 11: Meet The Nevers & bid Shameless farewell

What s On TV, April 11: Meet The Nevers & bid Shameless farewell
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Ken Burns and Lynn Novick s docuseries Hemingway comes to PBS

Photo: A.E. Hotchner/PBS Here’s what’s happening in the world of television for Monday, April 5. All times are Eastern.  Advertisement Top pick Hemingway (PBS, 8 p.m., docuseries premiere, back-to-back episodes): “When modern readers lambast the American literary canon, they’re probably complaining at least partially about Ernest Hemingway. The Hemingway clichés are easy to rattle off… To its credit, Ken Burns and Lynn Novick’s six-hour docuseries Hemingway doesn’t dispute much of this. The directors use the author’s own statements, letters, photographs, and other writings to verify some of our worst assumptions. As cultural conversations about whether we can separate the exemplary work of an artist from their problematic personal life resurface over and over again,

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