Unidentified [Tribeca Festival Review]

by Mike McGranaghan

Unidentified establishes itself as a special whodunit by having an uncommon setting and a unique protagonist. This mystery-drama from director Haifaa Al Mansour, which screened at the 2026 Tribeca Festival, takes place in Saudi Arabia and finds a young woman bucking the patriarchal system there to play detective. The plot itself is sufficient to keep you hooked; the feminist themes make it that much sweeter.

Noelle (Mira Al Zahrani) is a true-crime podcast obsessive. When the body of an unknown teenage girl is discovered in the desert, she wants to find out what happened and who is responsible. The police humor her by listening to the clues she uncovers, then promptly dismiss everything she says. Noelle begins prowling around the local girls’ schools, eventually connecting with two adolescents who know the victim’s identity. This spurs her to continue digging, despite resistance from the officials.

As with any good mystery, Unidentified has a number of surprising twists and turns. New layers to the crime are added as it goes along, guaranteeing that you sit in rapt attention, waiting to find out what Noelle will learn next. It’s a nifty spin that she’s not a professional crime-solver. Drawing upon what she’s learned from podcasts has given her a perhaps naïve sense of confidence. Despite that, she does make advances that the cops don’t, suggesting that her own status as a young woman gives her a perspective the older men cannot possibly achieve. Al Zahrani is wonderful in the lead role, showing Noelle’s drive in a winning manner.

That’s really what Al Mansour is getting at. The movie is intended to point out that, when women are silenced, an essential point of view is lost. Women must be allowed to participate in all occupations and in all walks of life. Their repressed role in Saudi Arabia, as suggested by the plot, makes it easier for criminals to get away with crimes against women because the men don’t understand what it’s like to be sexualized or treated as second-class citizens. The “girl power” message here is one of the picture’s most appealing traits.

My one gripe is the final twist. It isn’t terrible because it speaks directly to the themes the story has been exploring all along. That said, this particular denouement is too similar to one from a beloved cinematic mystery. The only difference is that it’s earned in the classic film, whereas here it feels more like a gimmicky “gotcha” that leaves a few plot holes wide open. Consequently, there is a slight anticlimactic vibe to the resolution.

That problem is not big enough that it should deter anyone from seeing Unidentified. The film is often exciting, occasionally funny, and always very thoughtful in addressing the plight of women in Saudi Arabian society. Driven by Mira Al Zahrani’s fiery performance, this mystery stands apart from the crowd.

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