With an academic background in law from the Sorbonne, screenwriter and photographer Amel Guellaty began her career in cinema as an assistant on notable feature films such as Olivier Assayas’ Après Mai, Raja Amari’s Foreign Body, and Abdellatif Kechiche’s La Blessure.
Even before creating her first short film, Black Mamba — which gained significant acclaim and was selected for over 60 international film festivals — she had already begun writing the screenplay for Where the Wind Comes From. Her sparkling debut will premiere worldwide at the Sundance Film Festival on January 26 and almost immediately after, it will stroll within the programme of the International Film Festival Rotterdam.
The entire journey to complete the film, however, spanned 8-9 years.
Naturally, Black Mamba’s lead actress, Eya Bellagha, took on the role of the defiant 19-year-old protagonist Alyssa — a liberated young woman determined not to let her dreams be overshadowed by mere practicalities.
Alyssa and her introverted 23-year-old friend Mehdi, use their creativity to escape their bleak reality. Upon learning about an art contest in southern Tunisia that could offer them an escape, they embark on a road trip, undeterred by the challenges they face along the way.
What is inspiring about Amel’s debut is her decision to portray young people in difficult situations without focusing on poverty, as is often depicted in films from the MENA region.
“I had no desire to write a social drama that was both dark and hard to grasp,” she confirms in her Director’s Statement. Her goal was to move away from the frequently shattered portrayal of Arab countries and instead present a playful, vibrant perspective.
“I’ve been following Arab cinema and wanted to avoid showing a completely devastated country or people… This is the challenge of the film: to find lightness in times of disarray.”
Amel’s vision for her film was clear: she wanted to highlight the beauty and energy of Tunisian youth while acknowledging their often uneven life battles.
“Tunisian youth is beautiful,” Amel tells The New Arab. “Of course, they face struggles and problems like youth everywhere, but they’re also full of humour, energy, and charm, which I find extraordinary.”
This approach set her apart, as she aimed to avoid both the intense dramas typical of Arab cinema and the emptiness of commercial comedies. Instead, Amel sought to create something authentic and fresh — a feel-good movie that tackled real issues without losing its sunny, adventurous vibe.
The road movie format, often associated with Western cinema, suited Where the Wind Comes From. Amel explained that while the genre might be rooted in American films, it felt universal. It came naturally to her because her first idea was to explore friendship but also imagination and road trips are like tabula rasa experiences where one can project brave fantasies.
“Tunisia’s small size made it a fun challenge to stretch a road trip story. My friends joked it would only take five minutes, so I had to find a way to make it longer,” she laughed.
“I chose this format to depict diverse Tunisian landscapes, the feeling of being on the road, and the sunny, adventurous vibe that fit my vision for a feel-good movie addressing real challenges.”
The journey allowed her characters to evolve naturally, adding depth to the story.
When asked about her characters, Amel revealed how personal they are to her. “There’s always a bit of autobiography in my characters,” she admitted. “I’m not that bold, and I’m definitely not that courageous. But there is a little bit of me in both Medhi and Alyssa. They’re not based on specific prototypes, though.”
She explained that her creative process involves thinking and reflecting for weeks before she begins writing. “Alyssa represents a generation of Tunisian youth who are strong, independent, and free, but who lack dreams and simply want to leave Tunisia. This reflects the North African youth’s belief in the ‘European dream,’ despite the struggles they might face abroad.”
Amel also highlighted the limited social mobility in Tunisia, where “if you’re born poor, it’s hard to change your circumstances unless you leave. Despite its flaws, Europe offers hope that doesn’t exist here.”
Nevertheless, Amel is an example of a successful young female filmmaker in Tunisia. Asked about what her journey has been like, she admits: “I wouldn’t call myself successful yet, but I’ve had some opportunities. I come from a cultural background — my father is a book publisher which gave me access to a creative environment.
“However, making films in North Africa is challenging. This movie took eight years to write and finance. Workshops like EAVE and Sudécriture helped improve the script, and I was fortunate to have a supportive producer who believed in the project.”
Amel’s passion for authenticity extends to her casting choices: “For Alyssa, Eya was a natural fit for the role, and her chemistry with Slim Baccar, who played Mehdi, was undeniable.”
Before entering the world of cinema through Amel’s short film Black Mamba, Eya Bellagha was a female boxer and a Tunisian champion. She was only 17 when Amel met her, and their collaboration sparked Eya’s desire to pursue a career in acting.
“I had already been thinking of her because I liked her face, so when I finished the script for my feature, I cast her right away, while it took me longer to find Slim. But eventually, their relationship on set felt authentic, and I’m proud of how they brought the characters to life,” Amel tells The New Arab.
One notable decision in Where the Wind Comes From was to avoid a romantic storyline between the characters. Amel wanted to highlight the beauty of platonic friendships, which she feels are often underrepresented in cinema.
“Alyssa and Medhi have a deep emotional connection, but it’s not romantic,” she explains. “All over the world, but especially in the Arab world, we separate genders. Here, I make a point of mixing roles, inventing a courageous female character and a sensitive male character, without these being their only traits.
“Alyssa and Mehdi’s personalities and dialogues set the tone and bring lightness to the film. They are connected by a strong bond and an overflowing imagination and this kind of relationship is important to show,” Amel adds.
Looking ahead, Amel’s next project is already in the works. While she keeps the details under wraps, she hinted that it wouldn’t be a Tunisian project.
“My dream is to make Arab, Tunisian, and African films that reach global audiences,” she said.
“But these projects take years to develop, so I’m open to other opportunities that allow me to work faster without losing sight of my ultimate goal.”
Mariana Hristova is a freelance film critic, cultural journalist, and programmer. She contributes to national and international outlets and has curated programs for Filmoteca De Catalunya, Arxiu Xcèntric, goEast Wiesbaden, etc. Her professional interests include cinema from the European peripheries and archival and amateur films
