Sandstorm (2022)

Zara (Parizae Fatima) is a young, innocent schoolgirl, and like many girls her age, she wants to prove her worth to others–including her online boyfriend Omar (Hamza Mushtaq). When Zara sends a sensual dance video to Omar, a Sandstorm begins brewing, and Omar’s attitude quickly changes. When he begins to blackmail Zara, she must find a way to look inward, understand who she is and what she wants.

Sandstorm does a wonderful job of combining traditional expectations with the modern era. Zara comes from a conservative family, but she finds herself mixed up with some pretty modern struggles, including the use of social media to wreak havoc in a teenager’s life. Writer-Director Seemab Gul does such a wonderful job of blending the old and the new, and creating something accessible for all. With that being said, it’s obvious that Sandstorm has a target audience, and that audience appears to be the Middle East (and those who practice Middle Eastern customs). The beliefs and customs of the people living in that region are used as devices to drive the film forward from its opening moments–and that remains the case throughout. That target audience will certainly understand and appreciate all that is being said and done throughout Sandstorm, but the use of the internet as a pivotal cog in the narrative allows individuals outside of that culture (ones who may not fully understand all that is being said) to understand and appreciate the narrative, and the film as a whole. Gul finds ways to intrigue a wide-ranging audience–and that sets Sandstorm up for success.

Mushtaq perfectly presents to viewers as the creepy, middle-aged catfish that preys on younger girls with little to no confidence. He falls into this role of Omar with grace–which seems odd considering the role–but he finds his way quickly; and he, in a lot of ways, propels Sandstorm forward. He must find something within himself, something cringy, something truly uncomfortable, and bring it to life–he does just that. He channels something that allows viewers to see him as horrific, but typical. We all know someone like this, we’ve all heard the stories of these men preying on innocent girls either for gain or just because they can–and Mushtaq brings to life a character that perfectly embodies all that we would expect him to be.

I’m impressed with Director of Photography Alberto Balazs’ ability to tell this story through his craft. The choices he makes throughout the course of Sandstorm are subtle, and they capture the tones of the film, and they invite viewers into the narrative. Without coming right out and saying it, viewers are able to understand, through what Balazs brings to the table, how characters are feeling and the way in which the tone shifts throughout. These subtle, but brilliant choices keep with the flow of the film, keeping viewers in the know, helping them to maneuver the dark, harrowing story.

Sandstorm is a series of subtle decisions that marry one another to create something powerful. Camera angles, acting choices, and the melding of the old and the new work together to create an important narrative. My one struggle with the film is the fact that the cultural differences between what I know and what’s depicted in Sandstorm make it challenging to understand the film from time to time. I know that I’m not necessarily the target audience, but a tad more backstory, and a bit more of a deep dive into the cultural expectations of Zara and her family would have worked wonders for the film. Gul makes some phenomenal choices throughout the course of Sandstorm, but I needed just a little more. Sandstorm is powerful, full of passion and vigor–and its message, if you’re able to understand, may just change the way you look at the world.

Written & Directed by Seemab Gul.

Starring Parizae Fatima, Hamza Mushtaq, Ayesha Shoaib Ahmed, Naila Khan, Aun Ali Saleem, etc.

⭐⭐⭐⭐⭐⭐⭐/10