LAYLA Trailer (2024) Bilal Hasna

LAYLA Trailer (2024) Bilal Hasna

LAYLA Trailer (2024) Bilal Hasna
© 2025 - Curzon

Layla

Cast and crew at the 2024 Sundance Film Festival
Directed by Amrou Al-Kadhi
Written by Amrou Al-Kadhi
Produced by Savannah James-Bayly
Cinematography Craig Dean Devine
Edited by Fiona Brands
Music by
CJ Mirra
Ariyan Mehedi
Production
companies
BFI
Film4
Fox Cub Films
Significant Productions
Release date
18 January 2024 (Sundance)
[1]
Running time 99 minutes
Country United Kingdom
Language English
Layla is a 2024 British romance film written and directed by Amrou Al-Kadhi in their feature directorial debut.

Premise
While navigating their identity around friends and family, Layla, a non-binary British-Palestinian drag queen living in London, falls in love with Max, an advertising executive.

Cast
Bilal Hasna as Layla
Louis Greatorex as Max
Safiyya Ingar as Princy
Terique Jarrett as Felix
Darkwah as Lucilla
Sarah Agha as Fatima
Baby
Rebecca Lucy Taylor as Emily
Buket Kömür as Sara
Emma McDonald as Areej
Ghazi Al Ruffai as Travis
Production
Savannah James-Bayly produced the film for Fox Cub Films. Executive producers include Farhana Bhula of Film4, Kristin Irving of BFI, Mary Burke of Public Dreams, and Nina Yang Bongiovi and Forest Whitaker of Significant Productions. Principal photography took place in East London over six weeks and wrapped in December 2022.[2][3]

Release
Film4 holds the UK and Ireland TV distribution rights. A first look image was shared in December 2022.[4] Layla was selected by the BFI and British Council for the Great8 showcase at the 2023 Cannes Marché.[5]

The film premiered in the World Cinema Dramatic Competition at the 2024 Sundance Film Festival.[6]

Gallery
Images from the 2024 Sundance Film Festival screening of Layla:

Writer and director Amrou Al-Kadhi
Writer and director Amrou Al-Kadhi

Lead actor Bilal Hasna
Lead actor Bilal Hasna

Lead actor Louis Greatorex
Lead actor Louis Greatorex
References
"Layla". 2024 Sundance Film Festival. Retrieved 19 January 2024.
Dalton, Ben (1 December 2022). "Amrou Al-Kadhi's queer love story 'Layla' wraps UK shoot for Film4, BFI; first-look revealed (exclusive)". Screen International. Retrieved 14 December 2022.
Godfrey, Jake (8 December 2022). "British romance Layla wraps production in London". Film Stories. Retrieved 14 December 2022.
Iftikhar, Asyia (2 December 2022). "British-Iraqi drag performer Amrou Al-Kadhi shares first look at 'radical' queer love story Layla". Pink News. Retrieved 14 December 2022.
Tabbara, Mona (9 May 2023). "'Chuck Chuck Baby', 'Starve Acre', 'Layla' among UK's Great 8 showcase at Cannes 2023". Screen Daily. Retrieved 15 May 2023.
D'Alessandro, Anthony; Patten, Dominic (6 December 2023). "Sundance Unveils Packed 2024 Lineup That Includes A.I., Pedro Pascal, Kristen Stewart, Satan, Devo & Steven Yeun". Deadline Hollywood. Retrieved 6 December 2023.
External links
Layla at IMDb
Categories: 2024 filmsBritish Film Institute filmsBritish LGBTQ-related filmsBritish romance filmsDrag (entertainment)-related filmsFilm4 Productions films2024 LGBTQ-related filmsFilms about non-binary people2020s British films
Bilal Hasna

Hasna at the 2024 Sundance Film Festival
Born Bilal Ali Hasna
1999 (age 24–25)
Westminster, London, England
Alma mater University of Cambridge
Years active 2020–present
Bilal Ali Hasna (/bɪˈlɑːl ˈhæsnə/;[1] born 1999) is a British actor and playwright. He starred in the film Layla (2024). On television, he is known for his roles in the Star series Extraordinary (2023–) and the Amazon Prime series Dead Hot (2024).

Hasna was named a 2023 Screen International Star of Tomorrow.[2]

Early life
Hasna was born in central London to a Palestinian father and a Pakistani Punjabi mother.[3] Hasna attended Haberdashers' Boys' School in Elstree. He graduated from the University of Cambridge in 2020 with a Bachelor of Arts in English Literature. During university, he participated in theatre with the Marlowe Society and Pembroke Players.[2][4]

Career
Having come up with the idea in 2021,[5] Hasna co-wrote and starred in the one-man play For a Palestinian with Aaron Kilercioglu, which was staged in 2022 at Camden People's Theatre and also featured at the Bristol Old Vic.[6]

After making appearances in Sparks and Screw,[7][8] in 2023, Hasna had his first main television role as Kash in the Disney+ Star superhero comedy Extraordinary.[9] He made his feature film debut as the titular character of Amrou Al-Kadhi's Layla.[10] He joined the voice cast of the animated film The Lord of the Rings: The War of the Rohirrim.[11] He also has an upcoming lead role opposite Vivian Oparah in the Amazon Prime comedy thriller series Dead Hot.[12]

Personal life
Hasna identifies as queer.[13]

Filmography
Film
Year Title Role Notes
2024 Layla Layla
2024 The Lord of the Rings: The War of the Rohirrim Voice role
2025 Christmas Karma
Television
Year Title Role Notes
2020 Sparks Shahid Episode: "Shahid's First Shave"
2022 Screw DS Norris 1 episode
2023–present Extraordinary Kash Main role
2024 3 Body Problem Edgar 3 episodes
2024 Dead Hot Elliott Main role
References
"Bilal Hasna% 1 min". Medical Aid for Palestinians. 21 April 2023. Retrieved 12 October 2023.
Jolin, Dan (28 June 2023). "Stars of Tomorrow 2023: Bilal Hasna (actor)". Screen Daily. Retrieved 29 June 2023.
Sierz, Aleks (26 September 2022). "Aaron Kilercioglu and Bilal Hasna's "For A Palestinian" at Camden People's Theatre". The Theatre Times. Retrieved 22 March 2023.
"Person: Bilal Hasna". CamDram. Retrieved 18 August 2023.
"Bilal Hasna and Aaron Kilercioglu on For A Palestinian". Camden People's Theatre. 2022. Retrieved 6 September 2023.
Farrel Roig, Estel (22 October 2017). "For a Palestinian is a 'moving and meaningful' political play". Bristol Post. Retrieved 29 June 2023.
Hibbs, James (25 January 2023). "Extraordinary cast: Meet the stars of Disney Plus superhero comedy". Radio Times. Retrieved 11 October 2023.
"Bilal Hasna". British Comedy Guide. Retrieved 11 October 2023.
Cavanaugh, Abby (28 January 2023). "'Extraordinary' Cast Talks Superpowers and What Drew Them to the Series". Collider. Retrieved 29 June 2023.
Dalton, Ben (1 December 2022). "Amrou Al-Kadhi's queer love story 'Layla' wraps UK shoot for Film4, BFI; first-look revealed (exclusive)". Screen Daily. Retrieved 29 June 2023.
D'Alessandro, Anthony (June 15, 2022). "'The Lord Of The Rings: The War Of The Rohirrim': Anime Voice Cast Counts Brian Cox, Gaia Wise, Miranda Otto & More". Deadline Hollywood. Retrieved 29 June 2023.
Rowan, Iona (17 August 2023). "Stay Close and It's a Sin bosses' new thriller series gets release window". Digital Spy. Retrieved 17 August 2023.
Scheetz, Cameron (17 March 2024). "Bilal Hasna dishes on doing drag for 'Layla,' queer intimacy, & dancing to the 'Glee' soundtrack". Queerty. Retrieved 18 March 2024.
External links
Bilal Hasna at IMDb
Categories: Living people1999 births21st-century English dramatists and playwrights21st-century English male actorsAlumni of the University of CambridgeBritish queer actorsEnglish LGBTQ actorsEnglish male dramatists and playwrightsEnglish people of Pakistani descentEnglish people of Palestinian descentEnglish people of Punjabi descentLGBTQ people from LondonMale actors from LondonPeople educated at Haberdashers' Boys' SchoolQueer male actors

Bilal Hasna is transforming into Layla, the title drag queen in Amrou Al-Kadhi‘s feature directorial debut.

“3 Body Problem” star Hasna leads “Layla,” which centers on an eponymous British-Palestinian drag queen in London who falls in love with an advertising executive (Louis Greatorex), all while navigating their identity around family and friends. Think a modern-day, queer take on “Romeo & Juliet.”

The British indie film had its world premiere at the Sundance Film Festival and later opened the BFI Flare: London LGBTIQ+ Film Festival. “Layla” also screened at the London Film Festival and Newfest.

Director Al-Kadhi previously worked as a drag performer before becoming a filmmaker. Al-Kadhi acted in Steven Spielberg’s “Munich,” “Venom: Let There Be Carnage,” “The Souvenir: Part II,” and “American Horror Stories.” They helmed shorts “Anemone,” “Run(a)Way Arab,” “Clash,” and “Define Gender: Victoria Sin” before making their feature debut with “Layla.”

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IndieWire’s film editor Ryan Lattanzio deemed “Layla” a “sensitive, well-acted, and confidently shot feature,” especially for a directorial debut.

“Al-Kadhi deliberately sets up a kind of ‘Romeo and Juliet’ story here, where Layla and Max seem so unmatched for each other in all ways, Layla a much more outsized covered-in-glitter proud version of themselves where Max hides behind neutral clothing, and a vacant corporate job and bland, sterile shoebox apartment to match it,” Lattanzio wrote. “What’s undeniable and eventually pretty hot is the chemistry between Hasna and Greatorex, who share a number of explicit sex scenes together that also help shape the arc of their characters: Layla, eventually and unannounced, shifts their bedroom dynamic into something much kinkier involving a high heel and lubricant. Hardly scandalizing for anyone remotely tapped into niche sex, but refreshing to see onscreen regardless.”

The review continues, “The message at the end of ‘Layla’ suggests that love does not and should not trump all, even when your identity is at stake. Even through the worst of heartaches, there’s never reason to regret a broken relationship that will ultimately make you stronger (hopefully?) because of it.”

“Layla” actor Hasna will next lend his voice to franchise prequel animated film “The Lord of the Rings: The War of the Rohirrim.” He will also star in Showtime’s “The Agency” alongside Michael Fassbender, Richard Gere, and Jodie Turner-Smith.

“Layla” premieres November 22 in U.K. theaters from Curzon. The film is still seeking U.S. distribution. Check out the trailer below.

Read More:
Amrou Al-Kadhi
Bilal Hasna
Film
Layla
Trailers
British-Iraqi filmmaker Amrou Al-Kadhi (also known as drag queen Glamrou) offers a fresh and poignant perspective of what it means to navigate faith, culture and romance as a non-binary Arab Muslim drag queen in their debut feature LAYLA.
The film — starring British-Palestinian actor Bilal Hasna (Extraordinary) in the titular role — centres queer joy, unexpected love and a vibrant glimpse into an alternate London brimming with diverse LGBTQ+ culture.
As the film premieres at BFI Flare Festival, FILMHOUNDS spoke with Hasna and Al-Kadhi about the importance of this trailblazing story.
Bilal Hasna
What was your first impression of the script and what drew you to Layla as a character?

I could really identify with [Layla] when it comes to code-switching. When it comes to altering your identities based on the expectations you think others have of you. I also think the film really marries things like queerness and Islam which are sometimes categories that the world and dominant media narratives teach us are incompatible. It's a real camp fairy tale.

A British Palestinian representing this role feels so important in the current climate. What impact do you hope this authentic, honest representation of a queer Palestinian on screen has?

The world tells us that queerness and Palestinian-ness are also two things that are mutually incompatible, and that can't be married together. Often the world uses that as justification for acts of total terror and horror. It's one of many many reasons why we're seeing the utter, utter devastation of Gaza right now. It's one of the many narratives that the Israeli government is using, also known as pinkwashing, not only to justify the occupation but the continued bombardment and destruction of Gaza. Exemplified by an Israeli soldier in Northern Gaza holding up a pride flag.

I hope that the film shows the world that you can be queer and Palestinian at the same time. I feel so proud as a British Palestinian to be heading this film right now because we desperately need more about Palestinian lives.

These issues are so selectively chosen by certain regimes of power in order to justify oppression. What we must remember is that queer people are oppressed all over the world. In America over 60 trans people were killed last year. Then we had Rishi Sunak in Parliament making fun of Brianna Ghey who was killed for being a trans woman.

How did you work with Amrou to bring Layla to life and draw from both of your experiences?

The initial script was written to be semi-autobiographical in a way. But when I was cast the role began to be shaped more around me and my experiences as well. It was a real spirit of collaboration with Amrou on set. They have first-hand experiences of all the situations that Layla finds themselves in the film so they were a great resource to draw from.

They really opened my eyes to the power of drag and the tribulations of being a drag queen.

Did you do much drag before filming?

In an amateur capacity, I used to make these music videos when I was a teenager and used to get into drag. But not really to be honest. Drag is a total Olympic feat and drag queens are Olympians. That's one of the big lessons I've learnt doing this.

The film's premise centres around Layla's outraged reaction after performing at a corporate pride event filled with performative allyship. Why is that an important discussion to be having right now?

Corporate pride is a symptom of a wider problem which is selectively co-opting marginalised identities and ostensibly supporting them for capital gain. It's one of my favourite scenes in the film because it is a total takedown of that very co-opting but in a camp and queer and grotesque way.

What was it like building the chemistry on set with your co-star and onscreen lover Louis Greatorex (Masters of the Air) who plays Max?

Louis is one of the most extraordinary artists I have ever worked with. We connected immediately and the chemistry on screen is very much because we became best friends. I really don't think I could have done this film with anyone else apart from him. He really is a truly singular actor.

Amrou Al-Kadhi
This project has been six years in the making. How the film has evolved over that time?

I was 27 when I started writing it and I'm 33 now so you just change as a filmmaker and the world changes as well. So some of the themes I was thinking about when I first started are irrelevant now.

When I first started writing Layla, they were a bit more of a victim [which] the industry expected of minority characters. By the time I shot it, I was not doing that. So I rewrote Layla to make them a lot more an agent of their own destruction.

From your perspective what does it mean to have someone of Palestinian heritage take on the role?

It wasn't on purpose, we just wanted to find the best actor for the role. I think it's really important that audiences get to see queer Palestinians merging those sides of their identities, because I think so much of the rhetoric [about] their queerness is used as a way to dehumanise. In Layla I want people to see that it's really magical.

You've worked closely with Russell T Davies over the years, what was it like being mentored by such an icon within the industry?

[Russell] really changed my life because he doesn't pull any punches and it's very hard to get direct feedback in this industry. So to have someone like him be as honest with me as possible so that I can write as strongly as I can has meant the world. I owe so much to him.

You have previously described the world in Layla as a “dreamland” and we see this in elements like the fictional nightclub “Feathers” which you built in a tunnel in Rotherhithe. Why is it so important we preserve LGBTQ+ nightlife and spaces like this?

Layla is living in a London that doesn't quite exist. Everyone lives in places they can't afford. People are wearing clothes they can't afford. The spaces are beyond the scope of what's possible in London right now. But it's moving away from social realist British cinema, and trying to give queer people something to dream about. Hopefully that makes people think “This is a London I want.” I don't think it's a London that exists.

You have also spoken about how you drew inspiration from Peter Pan in the themes of the film, what other cinematic influences shaped Layla?

Todd Haynes. A film like Carol I love because it gives lesbian women such cinematic grandiose and production value. I also love films that go beyond the scope of what's real like Pan's Labyrinth. [LAYLA] drags together loads of influences to make something new.

During a time when the meaning of drag is being distorted by the media, what does it mean to share a film that hits back against toxic narratives?

Often in film drag queens have one-liners and are usually very desexualised characters on screen. One thing I wanted to show is how multifaceted drag queens can be. Layla is a very sexual character who can go from high camp to sober. I really wanted to complicate people's understanding of what it means to be a drag queen.
“Give me my meat!” Layla screams, pissed off and with good cause. Layla and their fellow drag queens were hired to perform at a Pride event for a meal delivery service called Fork Me, and they’ve just been royally forked. What else can you call it when you’re paid in coupons instead of real money? And what else can you do in retaliation except turn yourself into a glorious spectacle and rub carnivore grub all over your skin?

“Layla,” premiering at this year’s Sundance Film Festival, is the feature directorial debut of writer/director Amrou Al-Kadhi, who you may know as a famous non-binary Muslim drag performer, and who you may also know from their cameo in the queer polyamorous superhero blockbuster “Venom: Let There Be Carnage.” This film has a lot more to do with their background as a non-binary Muslim drag performer than it does about alien symbiotes but that’s probably for the best.

Bilal Hasna (“Extraordinary”) stars as the title character, a non-binary drag performer from a Muslim family who can’t seem to find anyone to love. Or, at the very least, they can’t find anyone who loves all of them, even the parts they don’t appreciate themselves. Online hook-ups fall apart, mid-coitus, when Layla’s partner catches a glimpse of their femme paraphernalia. You can do better, Layla!

And, hey, maybe Layla’s new lover, Max (Louis Greatorex, “Last Tango in Halifax”) is just what they’re looking for. Enchanted by Layla’s meat meltdown, even though it cost him a lucrative client, Max tags along for a trip to Feathers, a queer nightclub that’s on the verge of shutting down. A night of magic and wonder and rooftop romance later, and Layla is pretty much in love. Max seems to love them too. The keyword being seems to.

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Al-Kadhi’s “Layla” is beautiful and wounded, just like Layla themself. And like Layla, the film dedicates a lot of its time to exploring the complexities and complications of queer identity and relationships. Layla tells Max they were shunned by their family after coming out, but the truth is they never told them. They stare plaintively at their sister’s wedding dancers, unable to express femininity in any way in that environment, but specifically, heartbreakingly, not able to express femininity through their own culture.

Max seems to love Layla for their theatrical drag persona and feminine charms, but when they learn Layla is non-binary they can’t wrap their head around it, and Layla’s afraid Max may not love them the way they are. But maybe, since there are so many facets to Layla, they can settle for a lover who only loves a part of them. They can even go full masc if that will save the relationship, although the fact that Layla’s performative masculinity takes the form of drab, colorless clothes that couldn’t scream “I’m miserable” any more if they were equipped with loudspeakers doesn’t support that hypothesis.

In many respects, “Layla” is a familiar romantic drama about two people finding each other, struggling to see each other, and coming to realizations about themselves in the process. It’s sweet when it’s sad and it’s sad when it’s sweet. Hasna and Greatorex have impressive chemistry and then twist it so that the same events that brought them together now seem to push them apart. You want them to end up together at the start of the film, but as you get to know them better your opinion is likely to change.

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There are moments when Al-Kadhi’s film veers into subversion, or at least salaciousness, which makes all that aforementioned familiarity a little less familiar. There’s a sex scene with a shoe you’re going to remember for a very long time, and characters tend to namecheck decidedly unromantic movies. Layla says their favorite film is genuinely “Saw V” (an unusual choice amongst “Saw” fans, one that makes Layla seem all the more fascinating). And their friends briefly consider a queer critical reading of “The Human Centipede,” although the movie is probably better off not getting sidetracked by that particular body horror… classic?

More than anything “Layla” is a lovely character study about a lovely character who makes mistakes and learns from them. A Sundance-friendly indie romance rich with specificity and led by what could, and by all rights should, be a breakout role for Bilal Hasna. An intimate and sensual and highly forking successful debut from Amrou Al-Kadhi.

“Layla” is a sales title at Sundance.
Gay cinema certainly has turned a corner lately, in the wake of films as varied as Cassandro, Rustin and All of Us Strangers, stories in which the lead character’s sexuality might form a crucial part of the tapestry of the drama but isn’t the be-all and end-all. Leading the vanguard for the next generation is this confident debut from 33-year-old British-Iraqi director Amrou Al-Kadhi, a frank and emotionally honest portrait of someone who falls outside society’s boxes and steadfastly refuses to conform to them. This emphasis on the positive is sometimes counterintuitive (more on that later), but, thanks to its core cast, Layla is an engaging study of love in the pronoun era.

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Layla (Bilal Hasna) is a non-binary drag queen/performance artist who lives in London, in a house they share with a bunch of like-minded queens, a sharp, ragtag bunch more prone to discussing the merits of The Human Centipede or Saw V than the latest Kylie. Layla’s makeup is perfect, but their life is in chaos; in an early scene, a Grinder pickup spots Layla’s discarded nail extensions and immediately loses interest. Like Quentin Crisp before him, Layla has a romantic yearning for the Great Dark Man — and a similar fear that he doesn’t exist. Layla feels that most gay men think of them as too effeminate and, worse, that the straight(ish) men who fall for their drag persona are just kidding themselves. “They only ever want the old-fashioned fantasy,” he says, “not the reality.”

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Unexpectedly, while doing a performance for a fast-food company called Fork Me! (a detail so leftfield it has to be based on experience), Layla flips out and goes postal with a box of ready meals. This catches the eye of Max (Louis Greatorex), a young yuppie type who works for some kind of advertising agency (do they still call them that?), but Layla isn’t feeling too proud (“That was a satanic abomination, wasn’t it?”). There’s a spark nevertheless, and Layla is surprised when Max takes up their invitation to a nightclub that’s hosting an alien-themed party. Unusually, Max takes Layla at face value in all their guises, and Max finds a new home at Feathers, a gay club facing closure in East London.

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Community, or rather family, is a big theme in Al-Kadhi’s story (“Feathers is basically like an orphanage for us,” says Layla), and it becomes more pronounced when we see more of Layla’s background. Returning home for a wedding, Layla’s puts on traditional Palestinian attire and presents as male to his unwitting mother, who hopelessly tries to set him up with a good Muslim girl. Luckily, the girl she chooses is another rebel; she has a secret (white) boyfriend, so she and Layla smoke weed instead, while pretending to be “getting to know each other.” The polite, suburban setting is an interesting counterpoint to Layla’s largely urban, nocturnal existence, and there’s a lot of irony too, as men in skirts dance like dervishes, much like the clientele at Feathers. Layla, though, keeps their London identity hidden, even from his sister who has just recently moved there.

This culture clash, however, is not what Layla is about, and the film quickly gets back to the business of whether Layla and Max are meant to be together, contrasting Layla’s jumble of an apartment with Max’s sterile city pad. Some viewers might struggle with that tension, since Max seems quite a catch, handsome and supportive of all Layla’s iterations, even taking a lubricated high heel quite literally in his stride. Layla, however, wants to be seen in their in-between state, which, admittedly, is quite an ask for anyone; indeed, the film’s big crisis scene involves Layla putting on a plaid shirt to meet Max’s father for a family dinner at Max’s place and “feeling like I’m at a funeral for myself.”

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What borders on self-pity never quite tips over thanks to a winning performance by Bilal Hasna, who keeps Layla grounded on their voyage of self-discovery and holds our sympathies, just about, even at his most petulant. Part of the credit for that must also go to Al-Kadhi for creating a world where someone like Layla can flourish, an underground wonderland that only comes out at night, beneath what Iggy Pop once called the city’s ripped-back skies. Much of the film’s melancholy comes from the impending closure of Feathers (gentrification being the scourge of London’s LGBTQI+ scene), and that sense of doom mirrors Layla’s on-off relationship with Max. Layla, however, is clearly made of sterner stuff, and, when we leave them, in a refreshing rebuttal of gay stories that end in tragedy, it’s clear they won’t be going down with that, or any other ship, any time soon.

Title: Layla
Festival (Section): Sundance (World Cinema Dramatic)
Sales agents: Independent Entertainment (International), WME (U.S.)
Director-screenwriter: Amrou Al-Kadhi
Cast: Bilal Hasna, Louis Greatorex, Safiyya Ingar
Running time: 1 hr 39 min

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Drag queens are a huge part of contemporary pop culture. They are on TV, on social media and forever on the minds of conservative politicians who try to ostracize them and muffle their voices. Yet despite this ubiquity, they rarely appear as movie leads. Writer-director Amrou Al-Kadhi rectifies that with their debut feature “Layla,” unspooling in the World Dramatic competition at the Sundance Film Festival. Like most Sundance discoveries, it introduces a new voice trying to carve a space for themselves in the medium. And like most feature debuts, it shows how that voice needs to be honed and nurtured, so that their next feature might more successfully accomplish its goals.

Layla (Bilal Hasna) is a London drag queen living a double life. With their friends, they live their truth as a nonbinary person and drag performer. Yet when they visit their Palestinian family, they become Latif, the dutiful son. Layla keeps their identity hidden even from their sympathetic sister Fatima (Sarah Agha). Performing at a corporate Pride event they meet attractive executive Max (Louis Greatorex). Though the event goes awry, with Layla causing a commotion after she is disrespected, she and Max wind up going to a party together.

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Al-Kadhi captures both of Layla’s worlds with an astute eye for the details that define their relationships: Layla’s reticence and reluctance when their sister keeps reaching out, and their tender physical bond with Max. They immediately have sex, but it’s clear from their chemistry that this is more than a one-night stand, and they cautiously begin dating. This setup is well modulated, grounded realistically in Layla’s point of view. In the film’s first half, Hasna comfortably fills the screen with Layla’s exuberance and joie de vivre; the star’s charming duet with Greatorex demonstrates how innocent and exciting new romance can be.

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But as the relationship deepens, Layla and Max find it hard to fit into each other’s worlds. Both guard secrets and lies: Max has talent as an artist but hides that from his traditional upper-class British family. Al-Kadhi conjures an unsettling atmosphere for the lovers, clearly showing how leading a double life can harm the psyche. As the lovers keep arguing, breaking up and reconnecting, the performances become less affecting, hampered by serviceable dialogue that doesn’t support at the deep connection the script insists on. The audience, meanwhile, loses any sense of why these characters want to be together.

In building Layla’s world beyond their family and Max, Al-Kadhi squanders another opportunity to add dimension to their protagonist. Layla’s three closest pals are interchangeable, with no distinct characteristics, despite the film selling them as chosen family. One of them, photographer Princy (Safiyya Ingar), briefly makes a mark in one scene, calling out Layla for always prioritizing straitlaced white lovers over their more diverse friends. Ingar has a righteous fury that pops off the screen, but the film never follows up on these grievances, and Princy becomes an anonymously supportive friend once more.

Collaborating with cinematographer Craig Dean Devine, Al-Kadhi gives Hasna the full star treatment. The camera adoringly follows Layla as they perform and fall in love, and refreshingly emphasizes their curves and their femme nature, showing Layla’s self-pride. Cobbie Yates’ costume shows the distinctive characteristics of Layla and everyone in their world, as well as what mood they’re in — something the script doesn’t always manage.

Al-Kadhi is playing with many interesting themes here, among them the idealization of “straight-acting” white men in the queer community, and the divided lives of many queer people from the Global South. Layla’s experience as someone who does not have faith in their family embracing their queerness is one to which many children of immigrants might relate. However, after a successful setup, Al-Kadhi doesn’t explore these issues to their fullest potential, and “Layla” ends up only a half-realized portrait.

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Amrou Al-Kadhi, Layla, Sundance Film Festival
‘Layla’ Review: A London Drag Queen Vacillates Between Identities in Amrou Al-Kadhi’s Uneven Debut
Reviewed at Digital Arts Screening Room, New York, Jan. 4, 2024. (In Sundance Film Festival — World Dramatic competition.) Running time: 99 MIN.
Production: (U.K.) A Fox Club Films, Significant Prods. presentation in association with Film4. (World sales: WME Independent, Los Angeles.) Producer: Savannah James-Bayly. Executive producers: Farhana Bhula, Louise Ortega, Nina Yang Bongiovi, Forest Whitaker, Kevin M. Lin, Michael Y. Chow, Mary Burke.
Crew: Director, screenplay: Amrou Al-Kadhi. Camera: Craig Dean Devine. Editor: Fiona Brands. Music: CJ Mirra.
With: Bilal Hasna, Louis Greatorex, Darkwah, Safiyya Ingar, Terique Jarrett, Sarah Agha, Baby, Rebecca Lucy Taylor.

In 2023, it’s up to young queer filmmakers to turn their cameras away from the trauma narratives that have so far mostly defined LGBTQ filmmaking and instead toward its potential for joyful expression and celebration. For cynics with a wary brow toward being uplifted, your mileage may vary for 1990-born drag performer turned filmmaker Amrou Al-Kadhi’s “Layla,” an exuberant appreciation of queer life even as it skims the surface of weightier issues around identity. But even the most callous of hearts — though anyone not already cosigned to the movie’s sensibilities is unlikely to see this film — will find it hard to skirt the charms of this sensitive, well-acted, and confidently shot feature about a non-binary Arab drag queen who gets lost in love but finds themselves at the other side of its failure. That’s even as many moments of the story feel manufactured just to keep it going.

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Living in London, Arab drag queen Layla (Bilal Hasna) is witty and confident onstage, but desperate for any scraps of human-on-human connection behind the scenes in between the gigs they can scrape together. They have a compassionate collective of found-family friends and roommates, while their Muslim family meanwhile lives completely oblivious to their identity elsewhere in the suburbs. Nights are spent on Grindr scanning for potential hook-ups that could spark something deeper, an erotic curiosity realized only in hollow encounters with thrustings that advance nothing romantically. A summoned, more masculine and dom-top bed-warmer balks at Layla’s fake nails strewn on the floor, leftover from hastily unmasking after a performance. He pulls out, and goes home. Al-Kadhi shrewdly zooms in on the particulars of Layla’s queer day-to-day life, which involves applying faux lashes by day and douching by night. Such is the life, and it’s great to see it shown for the often banality that it amounts to.

Layla eventually books a thankless corporate gig performing at a diversity summit for a ready-made meal company. But when they’re compensated in a ream of coupons for said ready-made meal service over actual, you know, money for their time, Layla throws their hair down and publicly debases themselves in an unscripted performance far more compelling than what they’d planned: by dousing themselves in pre-packaged Udon noodles and flirting with the vapid, suited staff of the company. Layla’s unhinged and unplanned rebellion catches the eyes of one of the company men, Max (Louis Greatorex). Their accidental meet-cute in the bathroom leads Max to follow Layla on a druggy, blissful bender into the night, and a relationship, however cautiously formed on either end, sparks.

Al-Kadhi deliberately sets up a kind of Romeo-and-Juliet story here, where Layla and Max seem so unmatched for each other in all ways, Layla a much more outsized covered-in-glitter proud version of themselves where Max hides behind neutral clothing, and a vacant corporate job and bland, sterile shoebox apartment to match it. What’s undeniable and eventually pretty hot is the chemistry between Hasna and Greatorex, who share a number of explicit sex scenes together that also help shape the arc of their characters: Layla, eventually and unannounced, shifts their bedroom dynamic into something much kinkier involving a high heel and lubricant. Hardly scandalizing for anyone remotely tapped into niche sex, but refreshing to see onscreen regardless.

But their relationship, for all its highs, isn’t without crushing lows and doubts as Max starts to terrify over the prospect of being seen in public with someone who is so, well, themselves. Meanwhile, Layla has their own problems, including a sister very much in the dark about who they really are, and a traditional family still trying to set them up with a woman. Al-Kadhi also inches toward interrogating how straight-fronting, cis gay men find personal liberation in attaching themselves to the magical world of someone more unabashedly queer than they are. Eventually, Max gets too drunk at a drag ball and embarrasses himself in front of Layla’s already skeptical friends. Does he maybe also have some latent fetish for drag queens? His history prior to meeting Layla is unexplored, but again, this isn’t Max’s show.

Writer/director Al-Kadhi throws a lot of wrenches into the mix of Layla and Max’s relationship that feel very screenplay-machinated, but I suppose are unavoidable: They split up, fall apart, then fall back in bed together as circumstances wrest them from each other. The constant flip-flopping grows repetitive as we yearn again for the private moments of bliss they once shared, and Layla’s self-righteous friends also keep getting in the way, characters who only exist as sobriety checkpoints for Layla’s intoxicated-in-love heightened state. They don’t really stand on their own, and I wish this movie could just relax in its own inherent dramas rather than try to feverishly create more for the sake of a three-act structure.

Again, it’s not their show either, and Layla’s friend group here only exists to propel the drama. There are other only-in-a-screenplay moments that exist to advance the story, like when Layla has a run-in with someone definitely shocked to see them holding hands with a man in the street. This revelation remains undeveloped outside of a very hastily thrown-together throwdown catharsis between Layla and someone close to them at the movie’s end. Hasna’s performance throughout, however, is something special. He has only a small number of mostly TV credits to his name (including Netflix’s upcoming “3 Body Problem” and Hulu’s recent “Extraordinary”) but announces himself here as a serious leading actor capable of telegraphing all the ever-evolving, moment-to-moment fluxes in being a queer person who has to be so many people at once. In and out of drag, he’s spectacular, often pasted with an eager, hungry grin as the chaos-reigning feelings of love start to overtake Layla like MDMA beginning to take its course. Cinematographer Craig Dean Devine also deserves credit for mounting a vividly colorful, 360-world often captured in long takes that revolve literally around the leads, rarely breaking us out of their breathless connection.

The message at the end of “Layla” suggests that love does not and should not trump all, even when your identity is at stake. Even through the worst of heartaches, there’s never reason to regret a broken relationship that will ultimately make you stronger (hopefully?) because of it. The movie ends with cult queer songwriter/singer Arthur Russell’s “This Is How We Walk on the Moon,” a song that also concludes Ira Sachs’ “Keep the Lights On,” a movie that excruciatingly details a doomed gay relationship, and one I’d be shocked if Al-Kadhi hasn’t seen. “Each step is moving, it’s moving me up,” Russell sings. This film makes us believe that’s true for Layla, but that may be because we have Arthur Russell here to help tell us so.

Grade: C+
“Layla” premiered in the World Cinema Dramatic Competition at Sundance. It’s currently seeking U.S. distribution.

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