In time, these directors may come to emulate the commercial fortunes of Nadine Labaki's "Caramel," a comedic social commentary set inside a Beirut beauty salon that became Lebanon's top-grossing film of 2007, or Marjane Satrapi's "Persepolis," the Oscar-nominated film based on her childhood in Iran. (Both films are in release in the US.) But the three directors are wary of being pigeon-holed, a notion voiced by Satrapi, who lives in France.
"I think I am interesting because I make good movies," says Satrapi in a phone interview. "Not because I represent anything."
Like Satrapi, these three bold directors have often been criticized but they each share Satrapi's ethos: "I was not surprised by the objections and I don't care," she says. "I fear nothing."
Growing up in Saudi Arabia, a country without any movie theaters, meant that when Haifaa Al-Mansour's family wanted an outing to the cinema, they'd have to drive to Bahrain.
"There is a debate nowadays in our local Shura council about opening a theater ... but it has not passed yet," sighs Mansour, speaking by phone from Australia, her new home with her husband, an American diplomat. "I make films for Saudis. I want to talk to them. Provoke them. Make them think about the issues. But it's hard when they cannot see my work."
In any case, Mansour's films wouldn't win the sort of accolades in Saudi Arabia that she has garnered at film festivals abroad. By peeking a camera lens behind the veil of Saudi Arabian life, she has ventured into unprecedented territory for a woman in a society where women are not allowed to vote, drive, study the same subjects men do, or take on the same jobs.