Layla is an engrossing, lively feature debut by Amrou Al Kadhi, charting the story of a drag queen who searches for their identity amidst a whirlwind romance.
Writer and Director: Amrou Al-Kadhi
Genre: Comedy, Drama, Romance
Run Time: 100′
World Premiere: January 18, 2024 at the Sundance Film Festival
U.K. Release: November 22, 2024
U.S. Release: TBA
Where to Watch: In UK cinemas
Layla begins like a crackling lightning bolt. Via a tracking shot, the camera roves through a busy London club, restless and unsure where to settle. Finally, we stop with the titular character in a quiet backstage area, as they apply make-up and fake eyelashes before a drag performance. Instantly we are witness to Layla’s inner conflicts surrounding their identity via facial shots broken by mirrors and warped reflections, but we are also very aware that this is where Layla feels safe and free.
As the thumping music continues and they take to the stage, both film and character have been announced to us in a thunderous, rapturous fashion.
Director/writer Amrou Al-Kadhi maintains this exhilarating energy and unabashed pride throughout Layla, even if some of these montage dance scenes become repetitive due to a lack of distinction between each. Al-Kadhi’s debut feature film follows Layla (a scintillating Bilal Hasna, 3 Body Problem), a British-Palestinian drag queen who identifies as non-binary and whose sexuality and gender causes issues with their sister and parents. After a performance at a sanitised and condescending corporate event to celebrate Pride, which ends with a triumphant and hilarious monologue from Layla, they meet ad-man Max (Louis Greatorex, Masters of the Air). The spark between the two is instant, culminating in an ecstatic and romantic night out at a club.
From there, Layla and Max’s relationship grows; Al-Kadhi impressively peels back the layers of both personalities. In particular, they hone in on Layla’s complex insecurities, utilising a slightly clunky but ultimately effective metaphor of octopuses to comment on their identity. Al-Kadhi similarly does well in navigating the complexities of Layla and Max’s relationship, with the latter even misgendering their partner at one point as ‘he’, as opposed to ‘they’, or referring to them as his ‘adventure’. Max doesn’t slot into Layla’s world neatly, with friction especially evident between their friends and new boyfriend.
However, whilst the relationship starts strongly, it ultimately fizzles out into something mildly disappointing. Indeed, the overall effect of Layla is slightly dulled by repetitive imagery, and for a film that is so refreshing and vibrant in its depiction of self-freedom, several moments and design choices feel surprisingly rote. That isn’t to say that Layla is ever boring; Al-Kadhi does extremely well to maintain the energy of the piece, aided by dynamic cinematography by Craig Dean Devine (Derry Girls) and a splendid soundtrack. There is a sense of the whole film being slightly overstaged, with some stilted scripting and acting, but ultimately, it reflects the fiery persona of its titular character.
Nevertheless, quieter moments in Layla still shine, such as when Max and Layla share a moment in bed together on a sunny morning. Even more notable are the scenes involving Layla’s family, in which they have to dress down in dull shirts or reserved Palestinian attire and are referred to as ‘Latif’, a name they do not want to go by any longer. These scenes strongly contrast to the drag shows and Layla’s true life; overly sanitised and reserved, these familial moments are noticeably suffocating for both Layla and the audience. As Layla rolls to its conclusion, some confusion and muddled messaging arrives, but overall, Al-Kadhi does a strong job to emphasise both the pain and the happiness that Layla feels at the film’s bittersweet conclusion.
Layla will be released in UK cinemas from November 22, 2024.
