Nayla Al Khaja’s films explore themes that resonate both locally and internationally.
Al Khaja spoke with Creepy Current about her journey into horror filmmaking. She discussed balancing suspense with cultural sensitivity, plus her upcoming projects that dig into her characters’ psyches.
Three Blends Modern Medicine and Traditional Belief
“What drew me to the horror genre for Three was its unique ability to tap into raw, primal emotions, making it an incredibly powerful tool for storytelling,” Al Khaja explains. “Horror allows me to explore themes that are often left untouched—fear, the unknown, and deeply buried societal anxieties.”
Her film Three puts this philosophy into practice. Three is a psychological horror thriller centred on Ahmed, a 12-year-old boy in Dubai. He begins showing disturbing behaviour and physical changes. His divorced mother Maryam must choose between two explanations: a Western doctor who believes Ahmed’s issues are medical, and her sister, who suspects demonic possession.
The story pits modern medicine against traditional Islamic belief. It also explores mental health, family dynamics and cultural identity.
Adding Arab and Emirati Elements to Horror
Al Khaja brings elements of Emirati culture into her films for a fresh perspective within the genre.
“I draw from the rich heritage of Emirati folklore, where stories of jinn, the supernatural, and traditional beliefs about death and the afterlife have long been a part of the oral storytelling tradition,” she says. These cultural touchstones create psychological tension and mystery that feels both authentic and engaging.
The Ghaf tree is one such element, deeply rooted in Emirati culture.
“The Ghaf tree holds significant cultural and symbolic meaning in the UAE, not only as a symbol of resilience and survival in the desert but also in terms of local supernatural beliefs,” Al Khaja notes. “It’s believed that jinn take refuge under these trees, especially at night, and locals are often cautious about disturbing Ghaf trees or even being near them after dark.”
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Balancing Suspense with Cultural Sensitivity
Al Khaja embraces the challenge of crafting suspenseful narratives while respecting cultural boundaries.
“In Three, I wanted to create an experience that is unsettling and immersive, but without crossing cultural lines that could feel disrespectful or alienating to the audience,” she says.
Emirati society places family, religion and community above all else. Al Khaja works to honour these values even as she explores fear and psychological tension.
Cultural and personal influences shaped the theme of possession in Three. “In Emirati and broader Middle Eastern folklore, the concept of possession, particularly by jinn, has long been a powerful narrative element,” she explains. Al Khaja consults cultural and religious experts to portray these themes with accuracy and sensitivity.
What Horror Fans Want, at Home and Abroad
Al Khaja makes films for an audience that craves psychological thrillers and suspense over simple jump scares.
“They’re not just looking for jump scares; they want to feel a connection to the characters and be taken on a journey that explores the human condition in a way that’s both unsettling and thought-provoking,” she says.
This approach bridges cultural gaps through universal emotion, resonating with Emirati and international viewers alike.
BAAB Takes a Mythical Turn
Al Khaja describes her upcoming film BAAB as an indie fantasy horror film with a deeply personal, introspective narrative. The film follows a woman coping with tinnitus after the sudden loss of her twin sister.
“It’s a visceral journey into the protagonist’s inner world, dealing with themes of loss, identity, and the subconscious,” she says.
BAAB departs from Three in style and theme. Where Three stays grounded in psychological horror, BAAB adds a “fantastical, almost mythical layer,” blending horror with surreal, dreamlike elements. This lets Al Khaja explore metaphysical ideas and the many shapes grief can take.
Immersion drives her approach to tension and atmosphere. “I focus on creating an immersive experience that draws the audience into the characters’ emotional journey,” she says. Visual storytelling, sound design and deliberate pacing build her sense of unease slowly.
“Sound design plays a crucial role,” Al Khaja adds. “In BAAB, the protagonist’s tinnitus is central to the sound design, weaving discomfort and tension into the narrative itself.”
Netflix carries Al Khaja’s short film The Shadow, a precursor to her feature-length work. Though more contained, it touches on the same psychological and emotional fears found in her longer films.
“It allowed me to explore how much can be conveyed with very little and gave me a chance to focus intensely on atmosphere,” she reflects.
The First Female Emirati Director
Al Khaja says being the first female Emirati director carries both honour and responsibility. “I’ve had to break barriers and overcome preconceived notions about what a woman, particularly from this region, can achieve in the film industry,” she says.
She hopes to inspire the next generation of female filmmakers. Her career shows that Emirati stories and perspectives belong on the global stage.
Guillermo Del Toro’s Pan’s Labyrinth and Alfred Hitchcock’s classic suspense films shape her influences. “Del Toro’s use of symbolism, practical effects, and focus on storytelling over shock value is something I deeply admire,” she says. These influences drive her commitment to horror films that scare audiences while carrying real meaning.
A Growing Appetite for Horror in the Middle East
Al Khaja believes Emirati filmmakers bring something new to the horror genre. “We can offer a nuanced take on horror that reflects the societal dynamics of the region, such as the tension between tradition and modernity, family obligations, and cultural identity,” she explains.
The UAE’s landscapes and untapped folklore offer a rich backdrop for new stories. Horror’s appeal across the UAE and the wider Middle East keeps growing.
“Audiences are looking for stories that not only scare but also explore deeper themes that resonate with their personal and cultural experiences,” Al Khaja says. Audiences increasingly want films that blend suspense with social and spiritual themes.
Personal Fears and Favourite Films
Al Khaja candidly admits her own greatest fear when asked: “Fear of tight spaces. Claustrophobia.”
This personal vulnerability may explain the confined, tense atmospheres she builds so well in her films.
Her favourite horror classics, The Exorcist and Rosemary’s Baby, reveal her taste for stories that dig into the psychological and supernatural. “Balancing horror elements with the exploration of social themes is a delicate but purposeful process,” she says. Weaving the two together makes the fear resonate, because it stays tied to something real.
Nayla Al Khaja does more than craft films. She builds a narrative landscape that honours her heritage while pushing the boundaries of genre and expectation.
Through her work, she invites audiences to confront their fears, question their realities, and explore the shadows just beneath the surface.
