| The side-window lens is surely symbolic in this film | I shifted my focus because I thought that joyriding in the kingdom is a more urgent story to tell, especially since it had been around for decades and yet had a single state-sociological narrative of it in the mainstream media |
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| I decided to focus on the hajwalah writers, and very soon after that, I decided to focus on just hajwalah joyriding | Can I possibly tell a story about a joyrider, to whom my accessibility is very limited? As a Riyadh-native hoping to drive in my city one day, nothing seems more important than connecting my plight with my visible and yet marginalized male counterparts who drive in the outer-city |
Rakan himself does not write graffiti, but I was led to his world through the hajwalah graffiti.
19| I became attracted to the joyriding subculture and wanted to understand it | From far away I saw that joyriders contest space in public spaces with a quest for individual identity and fame |
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| Fearful of losing his system-monitoring night job, Rakan quits joyriding and instead, he imagines and virtually relives the hajwalah world through gaming |
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