Kuwait has finally made its imprint on the international stage with The Exchange, a thrilling, action-packed six-part thriller set in the 1980s. It portrays the story of two women, Farida and Munira, cousins who enter the male-dominated world of the financial market and make their mark.
All of this occurs on the eve of the US-Iran confrontation and Saddam Hussein’s great reaction, albeit it plays little role in the main plot. Instead, the major idea of The Exchange is the recontextualization of women’s positions in the workplace in light of evolving feminist paradigms. The creators have done an excellent job of creating their narrative around female empowerment without adopting a radical approach.
Most projects that incorporate this much feminist criticism these days go overboard with the messaging. So much so that it exposes the endeavor to vitriolic scorn and venomous criticism. No one likes to witness a one-sided portrayal of any subject. Such images also keep the feminist movement beneath the radar, forcing it to pass superfluous gender equality litmus tests. The Exchange, on the other hand, is free of such dangers. In reality, aspiring filmmakers can learn from the series creators for such an unexpected and daring portrayal of the two females.
Both ladies are fighting parallel wars. The first is, of course, the Kuwaiti stock exchange. The other is a personal conflict they are fighting at home. The tide has swung strongly against Farida and Munira. However, the two ladies demonstrate individual brilliance and collaborative tenacity in weathering the storm, even when it does not suit them. While neither portrayal is adequately developed, the novel approach to typical situations such as family dysfunction provides viewers something to look forward to. The show’s attractiveness is enhanced by the clothes, make-up, and amusing embodiment of things unsaid through conversation.
The cultural flavor of Kuwait is strongly etched in the pictures. We became accustomed to seeing the white kaffiyeh sitting comfortably on male heads and the thawb freely flowing horizontally after a time.
That aspect may be the show’s distinguishing feature, but it is not anything unique that defines it. There is a strong connection between world events and how they shape the two women’s trips. It is The Exchange’s attempt to simplify and explain how stock values go up and down. Many investors are emotionally drained as a result of the stigma linked to it. However, other examples, such as the bombing of the oil tanks and the drop in beef prices impacting hog and sheep prices, subtly demonstrate that argument.
The story gets closer to explaining the chaotic opening moment, in which Farida and Munira stand among heavy water sprinklers at the exchange, with each episode. The tale is cut short on that front, with only six episodes. We don’t get a long, emotional look into either home nor do we have time to hear about how women are seen on a granular level. While Farida’s major emotional conduit is her baby Jude, Munira remains closer to Saud at work. It is a creative choice born of compulsion that, in retrospect, works rather nicely.
The storytelling technique is such that you largely glide through the episodes. A cheerful background soundtrack keeps the spirits up, and the events unfold in such a way that they don’t need much help from other aspects to fade away in the viewer’s mind. The tone is cheerful, more akin to comedy than serious drama. That is not to say that The Exchange is devoid of impassioned conversation. Farida’s coming-of-age narrative is highlighted by the difficult circumstances she endures against everyone else, even Munira.
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Rawan Mehdi, who portrays Farida, had more screen time than Mona Hussain (Munira). Hers is the onerous duty of maintaining your attention in instances when all you have to connect with is Farida’s sense of inadequacy. Mehdi does so with ease. Her grasp of body language and facial emotions in close-ups is outstanding. She has an innocent demeanor, which contributes to Farida’s allure. Hussain’s job is diametrically opposed to Mehdi’s. Munira’s acting is distinct because she is aggressive, demanding, and bold, and it is equally effective.
The Exchange piques our interest in Kuwait’s slate of films and television series. Their first worldwide product is sure to pique the curiosity of a big audience.
