Wadjda was fun, mainly because of the girl’s acting and direction. It’s a sweet film that gets into some social issues in Saudi Arabia without being judgmental.
There was a New Yorker review of it a while ago that compared it with other bicycle-oriented films (like “kid with a bicycle”). That may be of interest. I’ll see if I can find it online.
Here’s the part of the review of “Wadjda” in The New Yorker that I liked:
“Nevertheless, ‘Wadjda’ deserves its place in the canon of two-wheeled movies: a slim but distinguished line, gliding from De Sica’s ‘Bicycle Thieves,’ Tati’s ‘Jour de Fête,’ and Truffauts ‘Les Mistons’ through to the Dardenne brothers’ ‘The Kid with a Bike.’ They all depend on an awkward clump of metal that has no use or purpose until it starts to move, at which point, especially for the young, it acquired a liberating grace. Al Mansour is too smart to overdo the symbolic spin, but the thrust of her film, toward the end, could hardly be more urgent. Wadjda winds up at an intersection, watching traffic stream by in both directions. You might read the scene as a feminist renewal of ‘The 400 Blows,’ and of its celebrated freeze-frame at the ocean’s unwelcoming edge.”