“Wadjda” was the first feature shot inside Saudi Arabia. Since then, there have been major cultural and social reforms. How do you think that might affect your filmmaking career and potentially open up creative industries to other Saudis, especially women?

We had permission to shoot “Wadjda,” but we kept it low- profile, because we didn’t want people to be upset that we were filming. Saudi Arabia was opening up when we were filming, but it’s not like now. Film is legal, and now they are starting to give Saudi filmmakers money.

I’m working on another film now with the Ministry of Culture called “The Perfect Candidate,” about a young woman who’s embracing politics and wants to run for municipal elections. They are supporting it. It’s amazing to see Saudi Arabia opening up as a place for women and the arts.

How was working on “Mary Shelley” different from directing films in the Middle East?

When I was shooting in Riyadh, I couldn’t go in the streets — I had to be in a van on a walkie-talkie, and I always had to be carrying the burden of censorship. Self-censoring is part of who I am when I work in the Arab world. When I started working in the West, the freedom was wonderful. It was nice to be engaging just with my art.

Can you say more about self-censoring and how it shapes your Arabic films?

I come from a conservative place and I always want to respect where I come from. I don’t want to go and do something that is outrageous, because it puts a block between you and the audience. I feel like I can present it in a way that they will like and understand, especially when you’re talking about women’s rights or empowering young girls in a conservative society. Because I’m from that culture, I understand it. It made me say things differently, and it’s an interesting exercise. You have to be creative to say things.

How did your background growing up in an extremely conservative culture shape the way you approached Shelley’s story?