The Station (2026)
One of the most powerful results of cinema is the allowance for disenfranchised and oppressed voices to have a platform to share their voice and have a platform of power. Following her 2013 documentary, The Mulberry House, Yemeni filmmaker Sara Ishaq jumps into the world of fiction with The Station. Screening as part of the 2026 Cannes Film Festival, The Station centers on a women-only gas station in Yemen, where Layal, played by Manal Al-Maliki, keeps her little brother Laith, played by Rashad Alrajeh, out of sight and out of mind. Yemen is at a state with its military operations that it is an expectation that any young man joins the fight on the frontline, leading to the mass death of sons and brothers, which weighs on the community of mostly women who are left to mourn. Even a couple of minutes outside the walls of the gas station opens the door for Laith to be noticed and attacked by the other boys and men of the community. Layal does her best to provide and protect, but her intentions are thrown into chaos with the surprise arrival of her estranged sister Shams, played by Abeer Mohammad. Incredibly tense and emotional, The Station is a drama that doesn't let go, both celebrating the power of women while showcasing the horrors of violence.
From its opening scene, there is a weight to The Station that is constantly pressing on the audience. The film does an incredible job at highlighting the dangers of the world outside of the gas station and exposing just how fragile any moment of peace of comfort is. In the background of nearly every shot, a poster hangs of another young child who was sent to fight to their death. As Layal goes to the local community center, she passes by stockpiles of death shrouds. Death is not a hidden part of life within the film, but rather an active participant wherever one turns. Due to his age and gender, Laith is vulnerable to being targeted, both by a society that pushes for him to strive to join the fight and those who would attack him for not meeting that expectation. While Laith is forced to understand this, there is also an aura of ignorance to the character, who has successfully been allowed to maintain much of his innocence and youth because of his sister. This creates a nerve-racking dynamic, as every bad choice or conflict found throughout the film feels like it could lead to everything falling apart at the snap of a finger. However, Laith is also pushed by his own growing angst and desire for freedom outside the limitations set by his sister. By allowing Laith to stay safe, the character sometimes doesn't seem to recognize just how dangerous the situation is, adding to the drama as he takes certain risks.
The sanctuary of the gas station is also one that empowers the women who go there. As they split up the tiny amount of gas they have, the women build a community of their own, sharing meals and stories with an often unspoken sense of understanding. The film shows how these women find their own small ways of rebellion and power, fighting to empower each other and keep each other safe. Not only are these women connected by the gender dynamics of where they live, but they are also connected by the grief they have all faced. Every woman has lost someone to the fighting, whether that be a brother, husband, or son. They see what Layal is trying to do and have an immediate personal connection to helping her protect those she has left.
The evolution of the drama when Shams arrives is perfect. Shams and Layal have plenty of history together, with the pair having to balance keeping each other safe while also protecting themselves and the bubbles of family they have dedicated themselves to protecting. Each has different ideas about what is best to do, and as Shams enacts her plan, it is hard as an audience member not to shout at the screen in worry. The dynamic between these sisters is heightened by the strong performances behind them, with both Manal Al-Maliki and Abeer Mohammad delivering memorable work.
If there is one difficulty for The Station, it is in giving context and understanding to the audience. So much of The Station deals with the unspoken dynamics and emotions of the community being shown, and sometimes it can be difficult to exactly follow what is happening and the weight of certain decisions. It is difficult for the audience to engage in conversations, such as the debate on the best way to protect Laith, when they do not know the full context and details of what is being proposed. While the film does a good job at vocalizing the key dynamics of the situation, when it comes to specifics, more is bound to be lost.
The Station is a highlight of the 2026 Cannes Film Festival. Ishaq crafts a bold and daring film that is incredibly stressful and heartbreaking in the best of ways. Dealing with complex and large emotions of anxiety, family, gender, and grief, the film packs an incredible punch.
From its opening scene, there is a weight to The Station that is constantly pressing on the audience. The film does an incredible job at highlighting the dangers of the world outside of the gas station and exposing just how fragile any moment of peace of comfort is. In the background of nearly every shot, a poster hangs of another young child who was sent to fight to their death. As Layal goes to the local community center, she passes by stockpiles of death shrouds. Death is not a hidden part of life within the film, but rather an active participant wherever one turns. Due to his age and gender, Laith is vulnerable to being targeted, both by a society that pushes for him to strive to join the fight and those who would attack him for not meeting that expectation. While Laith is forced to understand this, there is also an aura of ignorance to the character, who has successfully been allowed to maintain much of his innocence and youth because of his sister. This creates a nerve-racking dynamic, as every bad choice or conflict found throughout the film feels like it could lead to everything falling apart at the snap of a finger. However, Laith is also pushed by his own growing angst and desire for freedom outside the limitations set by his sister. By allowing Laith to stay safe, the character sometimes doesn't seem to recognize just how dangerous the situation is, adding to the drama as he takes certain risks.
The sanctuary of the gas station is also one that empowers the women who go there. As they split up the tiny amount of gas they have, the women build a community of their own, sharing meals and stories with an often unspoken sense of understanding. The film shows how these women find their own small ways of rebellion and power, fighting to empower each other and keep each other safe. Not only are these women connected by the gender dynamics of where they live, but they are also connected by the grief they have all faced. Every woman has lost someone to the fighting, whether that be a brother, husband, or son. They see what Layal is trying to do and have an immediate personal connection to helping her protect those she has left.
The evolution of the drama when Shams arrives is perfect. Shams and Layal have plenty of history together, with the pair having to balance keeping each other safe while also protecting themselves and the bubbles of family they have dedicated themselves to protecting. Each has different ideas about what is best to do, and as Shams enacts her plan, it is hard as an audience member not to shout at the screen in worry. The dynamic between these sisters is heightened by the strong performances behind them, with both Manal Al-Maliki and Abeer Mohammad delivering memorable work.
If there is one difficulty for The Station, it is in giving context and understanding to the audience. So much of The Station deals with the unspoken dynamics and emotions of the community being shown, and sometimes it can be difficult to exactly follow what is happening and the weight of certain decisions. It is difficult for the audience to engage in conversations, such as the debate on the best way to protect Laith, when they do not know the full context and details of what is being proposed. While the film does a good job at vocalizing the key dynamics of the situation, when it comes to specifics, more is bound to be lost.
The Station is a highlight of the 2026 Cannes Film Festival. Ishaq crafts a bold and daring film that is incredibly stressful and heartbreaking in the best of ways. Dealing with complex and large emotions of anxiety, family, gender, and grief, the film packs an incredible punch.